The Annunciation - Bartolomé Esteban Murillo
Archival giclée
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Description
A classic Baroque depiction of the Annunciation by Bartolomé Esteban Murillo, featuring the Virgin Mary and the Archangel Gabriel bathed in golden light.
Bartolomé Esteban Murillo, a master of the Spanish Baroque, depicts the biblical scene of the Annunciation with characteristic softness and atmospheric depth. The composition centres on the Virgin Mary, who kneels in prayer before a lectern, her gaze directed upward toward the Archangel Gabriel. Gabriel, rendered with ethereal grace, descends upon a cloud, holding a lily, the traditional symbol of Mary's purity.
The upper portion of the canvas is filled with a golden, celestial light, from which the Holy Spirit in the form of a dove emerges. Cherubs and putti are woven into the swirling clouds, adding a sense of movement and divine presence to the scene. Murillo employs a warm, golden palette that unifies the figures with the surrounding space, a technique that softens the transition between the earthly and the heavenly realms.
Unlike the more dramatic, high-contrast works of his contemporaries, Murillo favours a gentle approach to light and shadow. The figures possess a human quality, grounded in emotional sincerity rather than rigid formality. The drapery of the garments is handled with fluid brushwork, creating a sense of weight and texture. This work reflects the artist's mature style, where he successfully balanced religious devotion with a refined aesthetic sensibility. The painting remains a representative example of the Sevillian school of the seventeenth century, demonstrating the artist's ability to create compositions that are both accessible and spiritually evocative.
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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.
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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
The Annunciation - Bartolomé Esteban Murillo
Artist Biography
Bartolomé Esteban Murillo
He was born in Seville in late 1617, the youngest of fourteen children. His father was a barber surgeon. Both parents died before he was eleven, and he was raised by an older sister and her husband, also a barber. He studied in the workshop of Juan del Castillo, his uncle and godfather, and absorbed the realism of Zurbaran and Ribera. In 1645 he received his first major commission: eleven canvases for the convent of San Francisco in Seville. The success was decisive.
Seville became his entire world. He rarely left. In 1660 he co-founded and became first president of the city's Academy of Painting. His religious paintings, particularly his Immaculate Conceptions, were reproduced and imitated across the Catholic world for the next two centuries. He also painted contemporary street life: flower girls, beggars, street urchins, recorded with an affectionate realism that constitutes a documentary record of seventeenth-century Andalusia.
For two hundred years after his death he was considered one of the greatest painters who ever lived, ranked alongside Raphael and Titian. Then opinion turned. By the late nineteenth century his religious canvases were dismissed as sentimental and treacly, and he was nearly written out of art history altogether. The reassessment continues; the sentimentality charge has not entirely lifted.
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