Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Drunkenness of Noah - Giovanni Bellini
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
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Description
A late Renaissance masterpiece by Giovanni Bellini, depicting the biblical narrative of Noah with characteristic Venetian warmth and soft, tonal light.
The Drunkenness of Noah is one of the final works produced by Giovanni Bellini, the Venetian master who shaped the course of Italian painting during the late fifteenth and early sixteenth centuries. Painted when the artist was in his eighties, the work displays the characteristic warmth and atmospheric quality associated with the Venetian school. It depicts the biblical narrative from Genesis, where Noah, having planted a vineyard and consumed its wine, lies exposed in a state of intoxication. His three sons, Shem, Ham, and Japheth, approach to cover their father, an act of filial piety that contrasts with the vulnerability of the patriarch.
Bellini employs a soft, painterly technique that allows the figures to emerge from the shadowed, wooded background. The composition is arranged horizontally, focusing on the recumbent form of Noah. The bright red drapery held by the sons provides a visual anchor, drawing the eye across the canvas and creating a sense of movement within the scene. The inclusion of the small bowl and the cluster of grapes in the foreground serves as a direct reference to the cause of Noah's condition, grounding the narrative in physical reality.
This painting demonstrates Bellini's late style, which moved away from the rigid outlines of his earlier career toward a more fluid, tonal approach. The light is diffused, softening the contours of the figures and integrating them into the surrounding environment. The emotional restraint of the figures, combined with the subtle modulation of colour, creates a contemplative atmosphere. As a late work, it reflects the artist's mastery of oil paint, a medium he helped popularise in Venice. The canvas remains a significant example of the transition toward the High Renaissance, showing how Bellini adapted his approach to incorporate the innovations of his contemporaries while maintaining his own distinct artistic identity.
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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.
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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
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- Dust gently with a soft, dry cloth
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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
Complete The Look
Drunkenness of Noah - Giovanni Bellini
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Giovanni Bellini
Bellini ran the most important painting workshop in Venice for over half a century. Whether he was the son or the younger brother of Jacopo Bellini has been debated by scholars since Daniel Maze challenged the traditional assumption; what is not debated is that by the 1470s, Giovanni had surpassed everyone in the family. His older brother Gentile was more famous during their lifetimes, but that ranking has been reversed for centuries.
His brother-in-law was Andrea Mantegna, who married Jacopo's daughter Nicolosia. The two men influenced each other constantly: Mantegna's hard, sculptural line pushed Bellini toward precision, while Bellini's instinct for colour and atmosphere gradually softened Mantegna's edges. The dialogue between them is one of the most productive in Renaissance art.
He transformed Venetian painting by introducing oil glazes over tempera, a technique he adapted from Antonello da Messina after Antonello visited Venice in 1475. The new method allowed him to build up translucent layers of colour that captured the specific quality of Venetian light: soft, diffused, reflected off water. Before Bellini, Venetian painters worked in the dry, linear style of the rest of Italy. After Bellini, Venice had its own tradition.
Titian and Giorgione both came through his workshop. Titian may have caused him some annoyance; their professional relationship was complicated. But Bellini was painting into his eighties, still the official painter of the Venetian Republic, and still producing work that held its own against pupils forty years younger.
When Albrecht Durer visited Venice in 1505, he said Bellini was very old but still the greatest artist of them all.
His brother-in-law was Andrea Mantegna, who married Jacopo's daughter Nicolosia. The two men influenced each other constantly: Mantegna's hard, sculptural line pushed Bellini toward precision, while Bellini's instinct for colour and atmosphere gradually softened Mantegna's edges. The dialogue between them is one of the most productive in Renaissance art.
He transformed Venetian painting by introducing oil glazes over tempera, a technique he adapted from Antonello da Messina after Antonello visited Venice in 1475. The new method allowed him to build up translucent layers of colour that captured the specific quality of Venetian light: soft, diffused, reflected off water. Before Bellini, Venetian painters worked in the dry, linear style of the rest of Italy. After Bellini, Venice had its own tradition.
Titian and Giorgione both came through his workshop. Titian may have caused him some annoyance; their professional relationship was complicated. But Bellini was painting into his eighties, still the official painter of the Venetian Republic, and still producing work that held its own against pupils forty years younger.
When Albrecht Durer visited Venice in 1505, he said Bellini was very old but still the greatest artist of them all.
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Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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