Fine Art Poster
From $29
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.
St. Jerome - Antonello da Messina
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A portrait of St. Jerome by Antonello da Messina, featuring the scholar in profile against an ornate gold background.
This portrait of St. Jerome captures the scholar in profile, a composition that reflects the influence of Northern European portraiture on the Italian master. Antonello da Messina is credited with introducing oil painting techniques to Venice, and his mastery of the medium is evident in the subtle transitions of light across the saint's face and the texture of his garments. The figure is depicted wearing the traditional red robes and wide-brimmed hat associated with a cardinal, holding an open book that suggests his role as a translator of the Vulgate Bible.
The background features a decorative, incised gold leaf pattern, a technique that provides a flat, ornamental contrast to the three-dimensional modelling of the saint. The arch-shaped frame suggests this work was originally part of a larger polyptych or devotional structure. Antonello focuses on the quiet concentration of the subject, avoiding unnecessary narrative elements to keep the viewer's attention on the psychological state of the figure. The precise rendering of the hands and the delicate features of the face demonstrate the artist's ability to combine Italian structural clarity with the meticulous detail characteristic of Flemish painters like Jan van Eyck.
Antonello da Messina spent his career moving between Sicily and the Italian mainland, absorbing various artistic traditions. This work is a clear example of his synthesis of styles, where the rigid, iconic nature of the gold background meets the soft, atmospheric treatment of the human form. The result is a balanced image that maintains a sense of stillness and intellectual rigour. The print reproduces the subtle craquelure and the warmth of the original panel, allowing for a close examination of the artist's brushwork and the specific application of pigments that define his unique approach to the Renaissance portrait.
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.
Complete The Look
St. Jerome - Antonello da Messina
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Antonello Da Messina
When Giorgio Vasari told the story of how Antonello da Messina travelled to Flanders and was personally taught oil painting by Jan van Eyck, it made for an irresistible tale. The flaw was that Van Eyck died when Antonello was still a boy. The actual source was Naples, where the young Sicilian painter worked around 1450. King Alfonso I's collection there included works by Van Eyck and Rogier van der Weyden, and the Neapolitan master Colantonio had already absorbed Flemish methods. From this environment Antonello mastered the key technique: by layering multiple transparent glazes of oil-rich paint, a painter could achieve depths of colour that tempera alone could never produce.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
Our Features
Designed for Lasting Impact
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
Made to order
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $89
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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Artist Biography
Antonello da Messina
When Giorgio Vasari told the story of how Antonello da Messina travelled to Flanders and was personally taught oil painting by Jan van Eyck, it made for an irresistible tale. The flaw was that Van Eyck died when Antonello was still a boy. The actual source was Naples, where the young Sicilian painter worked around 1450. King Alfonso I's collection there included works by Van Eyck and Rogier van der Weyden, and the Neapolitan master Colantonio had already absorbed Flemish methods. From this environment Antonello mastered the key technique: by layering multiple transparent glazes of oil-rich paint, a painter could achieve depths of colour that tempera alone could never produce.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
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