Virgin and Child with Saint Catherine of Alexandria - Pietro da Cortona
Archival giclée
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Description
A refined gilt bronze relief by Pietro da Cortona, depicting the Virgin and Child with Saint Catherine of Alexandria in a classic Baroque composition.
This gilt bronze relief captures the theatricality and movement characteristic of the Roman Baroque period. Pietro da Cortona, primarily known for his grand ceiling frescoes, applies his mastery of composition and dramatic lighting to this sculptural work. The scene depicts the Virgin Mary holding the Christ Child, who extends a palm branch towards a kneeling Saint Catherine of Alexandria. The arrangement of figures creates a sense of fluid motion, with the drapery of the garments appearing to catch the air, a hallmark of Cortona's style.
Behind the figures, a classical architectural element provides a sense of depth and stability, contrasting with the ethereal clouds that support the Virgin and Child. The inclusion of putti heads in the upper register adds to the celestial atmosphere. The relief technique allows for subtle gradations of light and shadow across the metallic surface, giving the figures a tactile quality. The interaction between the figures is intimate, focusing on the exchange between the Christ Child and the saint, while the architectural backdrop anchors the scene in a recognisable, albeit idealised, space.
Cortona was a central figure in the development of the High Baroque in Rome. His ability to integrate painting, sculpture, and architecture is evident here, as the relief functions almost like a three-dimensional painting. The choice of gilt bronze enhances the luminosity of the work, reflecting light in a way that suggests a divine presence. This piece demonstrates the artist's skill in managing complex narrative scenes within a confined space, maintaining clarity while providing a sense of grandeur. The work remains a fine example of the period's interest in emotional engagement and technical virtuosity, offering a glimpse into the devotional art produced for private collections during the seventeenth century.
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.
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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
Virgin and Child with Saint Catherine of Alexandria - Pietro da Cortona
Artist Biography
Pietro Da Cortona
He was born Pietro Berrettini in Cortona, Tuscany, around 1596 and trained in Rome under Andrea Commodi and Baccio Ciarpi. He served as head of the Accademia di San Luca from 1634 to 1638. His architectural works include the facades of Santa Maria della Pace and Santa Maria in Via Lata, making him one of the rare artists of the period to excel equally as painter, architect and interior decorator.
His frescoes in the Palazzo Pitti in Florence (1637 to 1647) were his other major decorative cycle. He died in Rome in 1669, at seventy-two.
His influence on Baroque ceiling painting was immediate and lasting: every illusionistic fresco produced in Rome for the next century took the Barberini ceiling as its starting point, whether following Cortona's method or reacting against it. Few single paintings have shaped an entire tradition so decisively.
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