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.
The Blessed Giles Levitating before Pope Gregory IX - Bartolomé Esteban Murillo
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
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Made to order
Description
A 17th-century Spanish Baroque painting by Bartolomé Esteban Murillo depicting the miraculous levitation of the Blessed Giles before Pope Gregory IX.
This painting by Bartolomé Esteban Murillo depicts a specific hagiographic episode involving the Blessed Giles of Assisi. The scene captures the moment of levitation before Pope Gregory IX, a miracle intended to demonstrate the spiritual state of the Franciscan friar. Murillo employs a restrained palette and clear composition to focus on the interaction between the ecclesiastical figures and the humble friars. The Pope sits in a position of authority, surrounded by cardinals in their characteristic red vestments, while the friars stand in simple, earth-toned habits. The contrast between the heavy, textured fabrics of the cardinals and the plain, unadorned wool of the Franciscans serves to delineate their respective roles within the church hierarchy.
Murillo was commissioned to produce a series of paintings for the cloister of the Franciscan monastery in Seville. This work is one of the surviving pieces from that cycle. The artist demonstrates his ability to handle light and shadow, using a soft illumination that directs the viewer's attention toward the levitating figure of Giles. The inclusion of text at the bottom of the canvas is a feature common to this series, providing a narrative explanation of the event depicted above. The composition is balanced, with the figures arranged to create a sense of depth within the interior space. The floor is covered by a patterned carpet, which adds a touch of material detail to the otherwise austere setting. This painting is characteristic of Murillo's early period, showing his interest in naturalism and the depiction of religious devotion through human gesture and expression. The work remains a significant example of 17th-century Spanish religious art, reflecting the aesthetic priorities of the Counter-Reformation period.
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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.
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
The Blessed Giles Levitating before Pope Gregory IX - Bartolomé Esteban Murillo
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Bartolomé Esteban Murillo
Murillo fell from a scaffold in Cadiz and died a few months later. He was sixty-four, working on a fresco at the church of the Capuchines, and the fall ended both the painting and his life. His burial in the Church of Santa Cruz in Seville did not survive either: the French demolished the church during the Peninsular War, and his remains were lost.
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.
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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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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