Supper at Emmaus - Caravaggio
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
Caravaggio's "Supper at Emmaus", painted in 1601, depicts the moment when the resurrected Christ reveals himself to two disciples. The painting exemplifies Caravaggio's mastery of chiaroscuro and his innovative approach to religious art.
Caravaggio's "Supper at Emmaus", painted in 1601, captures the moment when the resurrected Christ reveals himself to two disciples in the town of Emmaus. This work exemplifies the artist's mastery of chiaroscuro, the dramatic use of light and shadow, which heightens the emotional intensity of the scene. The setting is a humble inn, where a table is laden with food; the figures are rendered with a stark realism that was characteristic of Caravaggio's style. The painting depicts Christ, beardless and youthful, blessing the meal. The disciples react with astonishment and recognition. Caravaggio's attention to detail is evident in the still-life elements, such as the basket of fruit and the meticulously rendered textures of the fabrics and skin. The composition draws the viewer into the scene, creating a sense of immediacy and participation in this pivotal biblical event. "Supper at Emmaus" reflects Caravaggio's innovative approach to religious art, which sought to make sacred stories accessible and relatable to a contemporary audience. By placing the scene in an everyday setting and portraying the figures as ordinary people, Caravaggio invites viewers to contemplate the spiritual significance of the event in their own lives. The painting is housed in the National Gallery, London.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Supper at Emmaus - Caravaggio
Artist Biography
Caravaggio
Before the killing, he had already transformed European painting. He arrived in Rome from Milan in the early 1590s, hungry and unknown, and within a decade had developed a method of painting from life, using strong directional light against deep shadow, that made the prevailing Mannerist style look theatrical and empty. He used real people as models: prostitutes, street boys, labourers. His saints had dirty feet. The Church commissioned altarpieces and then rejected them for being too vulgar, too real, too much like the people who actually attended church.
The Calling of Saint Matthew, painted for the Contarelli Chapel in San Luigi dei Francesi, is his method at its clearest. The light enters from the upper right like a blade. Matthew sits at a tax collector's table with his companions. Christ points. The scene looks like something you might see through a doorway, which is roughly the viewer's position. Nothing is idealised. The moment is ordinary and sacred simultaneously.
After the killing he fled to Naples, then Malta, then Sicily, then back to Naples. He kept painting. The late works are darker, faster, more desperate. He received a papal pardon and boarded a boat north. He died on a beach in Porto Ercole in July 1610, at thirty-eight. The cause is unknown: fever, infection, possibly lead poisoning from his paints. His influence on Rembrandt, Velazquez, Georges de La Tour, and every painter who has ever used a spotlight is difficult to overstate.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like