The Entombment - Michelangelo Buonarroti
Archival giclée
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Description
An unfinished masterpiece by Michelangelo, this painting captures the solemnity of the Entombment through sculptural form and anatomical precision.
The Entombment, an unfinished panel painting attributed to Michelangelo, offers a rare view into the working methods of the High Renaissance master. Housed in the National Gallery, London, this work displays the characteristic sculptural approach Michelangelo applied to his two-dimensional surfaces. The composition focuses on the body of Christ, supported by figures who guide him toward the tomb. The central figure of Christ is rendered with anatomical precision, reflecting the artist's deep study of human form.
Surrounding the central group are various figures, including the Virgin Mary, Saint John the Evangelist, and Mary Magdalene. Their poses are varied, creating a sense of movement and emotional weight. The painting remains incomplete, particularly in the upper right section, which allows the viewer to observe the underdrawing and the initial stages of paint application. This lack of finish provides an unusual perspective on the construction of a Renaissance masterpiece, revealing the preparatory steps taken before the final glazes were applied.
The palette is dominated by strong, clear colours, such as the bright red of the robe worn by the figure on the left, which contrasts with the more muted tones of the background. The rocky, barren setting suggests the site of the burial, while the distant horizon line provides a sense of scale. Michelangelo's ability to convey physical mass through light and shadow is evident throughout the work. Even in its unfinished state, the painting demonstrates the technical rigour and compositional control that defined his career. It remains a significant example of the transition between the early experiments of the period and the fully realised works of the mature Renaissance.
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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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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
The Entombment - Michelangelo Buonarroti
Artist Biography
Michelangelo
He was apprenticed to Domenico Ghirlandaio at thirteen, the standard arrangement for a Florentine boy showing artistic ability. Ghirlandaio ran the largest workshop in the city and was a master of fresco technique. Michelangelo left after one year, claiming there was nothing more to learn. He moved to the sculpture garden of Lorenzo de' Medici, where he studied ancient Roman fragments and attracted the patronage of the Medici family. He was sixteen.
The Pieta was finished when he was twenty-four. David when he was twenty-nine. Both before the age of thirty. He carved David from a block of marble that two previous sculptors had already attempted and abandoned: a narrow, shallow piece that dictated the figure's proportions and made the engineering problem as interesting as the artistic one.
Pope Julius II commissioned the Sistine Chapel ceiling in 1508. Michelangelo did not want the job. He considered himself a sculptor, not a painter, and suspected the commission was a political manoeuvre by rivals to set him up for public failure. He fired his assistants, built his own scaffolding, and painted the entire 65-foot ceiling himself over four years. The image of him lying on his back is a myth; he stood, bending backwards, paint dripping into his eyes.
He outlived both Leonardo and Raphael by more than forty years. His last significant work was the redesign of St Peter's Basilica in Rome. He took no fee.
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