Fine Art Poster
From $39
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.
Madonna of the Magnificat - Sandro Botticelli
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A classic Renaissance tondo by Sandro Botticelli, depicting the Virgin Mary writing the Magnificat surrounded by angels.
The Madonna of the Magnificat is a circular painting, or tondo, produced by Sandro Botticelli during the Italian Renaissance. The composition depicts the Virgin Mary writing the Magnificat, a canticle from the Gospel of Luke, while holding the Christ Child. She is surrounded by five angels who assist in the act of writing and crown her with a star-studded diadem. The figures are arranged in a circular formation that mirrors the shape of the panel, creating a sense of unity and grace.
Botticelli employs a delicate linear style, characteristic of his work in the 1480s. The faces of the figures possess a soft, melancholic quality, with flowing hair and refined features. The Virgin Mary wears a blue mantle over a red dress, colours traditionally associated with her divinity and humanity. The background reveals a distant, serene landscape, visible through the window behind the group. The use of tempera allows for precise detail, particularly in the rendering of the book, the crown, and the folds of the garments.
This work is a prime example of the tondo format, which was popular in Florence for domestic settings. The painting is housed in the Uffizi Gallery in Florence. It demonstrates the artist's ability to balance complex figural arrangements within a restricted circular space. The interaction between the figures is gentle, conveying a quiet, devotional atmosphere. The gold leaf used in the crown and the halos adds a reflective quality to the surface, catching the light and drawing attention to the central figures of Mary and the infant Jesus. The painting remains one of the most recognisable images from the Florentine Renaissance, reflecting the period's interest in humanistic portrayals of religious subjects.
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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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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
Complete The Look
Madonna of the Magnificat - Sandro Botticelli
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Sandro Botticelli
Botticelli's real name was Alessandro di Mariano di Vanni Filipepi. 'Botticelli' was a nickname meaning 'little barrel', originally given to his older brother and passed along. He was apprenticed to a goldsmith and then to the painter Fra Filippo Lippi, whose delicate line and pale colouring shaped everything Botticelli went on to do.
He worked in Florence under the patronage of the Medici family during the period art historians call the Early Renaissance. The Birth of Venus and Primavera, both painted in the 1480s, are his best-known works and among the most reproduced images in Western art. They are strange paintings. Venus stands on a shell, blown to shore by the wind, her body curved in a way that owes nothing to anatomical reality and everything to Gothic line. Primavera fills a dark orange grove with mythological figures whose feet barely touch the ground.
The paintings are technically tempera on canvas and panel, executed with a fineness of line that reflects his goldsmith training. The outlines are visible. The surfaces are flat compared to the oil-based modelling that Leonardo and other contemporaries were developing. Botticelli was not interested in three-dimensional illusion. He was interested in contour, pattern, and the way a line can describe both a body and an emotion simultaneously.
His later career was affected by the rise of the Dominican friar Girolamo Savonarola, who preached against secular art and luxury. Botticelli may have burned some of his own paintings in the Bonfire of the Vanities in 1497. Whether this represents genuine religious conversion or political self-preservation is unclear. His output declined. He died in 1510, largely forgotten, and was not rediscovered until the Pre-Raphaelites championed him in the nineteenth century.
He worked in Florence under the patronage of the Medici family during the period art historians call the Early Renaissance. The Birth of Venus and Primavera, both painted in the 1480s, are his best-known works and among the most reproduced images in Western art. They are strange paintings. Venus stands on a shell, blown to shore by the wind, her body curved in a way that owes nothing to anatomical reality and everything to Gothic line. Primavera fills a dark orange grove with mythological figures whose feet barely touch the ground.
The paintings are technically tempera on canvas and panel, executed with a fineness of line that reflects his goldsmith training. The outlines are visible. The surfaces are flat compared to the oil-based modelling that Leonardo and other contemporaries were developing. Botticelli was not interested in three-dimensional illusion. He was interested in contour, pattern, and the way a line can describe both a body and an emotion simultaneously.
His later career was affected by the rise of the Dominican friar Girolamo Savonarola, who preached against secular art and luxury. Botticelli may have burned some of his own paintings in the Bonfire of the Vanities in 1497. Whether this represents genuine religious conversion or political self-preservation is unclear. His output declined. He died in 1510, largely forgotten, and was not rediscovered until the Pre-Raphaelites championed him in the nineteenth century.
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Fine Art Framed
From $119
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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