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 Life of Saint Zenobius - 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 late Renaissance narrative panel by Sandro Botticelli, depicting episodes from the life of Saint Zenobius with expressive, angular figures.
This work belongs to a series of four panels depicting the life of Saint Zenobius, the early bishop of Florence. Sandro Botticelli produced these late in his career, moving away from the classical grace of his earlier mythological subjects toward a more austere, expressive mode of storytelling. The panels function as a continuous narrative, showing multiple episodes from the saint's life within a single architectural framework.
Botticelli employs a flattened perspective that prioritises the clarity of the action over spatial realism. The figures are rendered with sharp, angular movements, conveying a sense of urgency and emotional intensity. The architectural settings are geometric and stark, providing a stage for the various miracles and events associated with the saint. The palette is restrained, focusing on the interaction of primary colours against the muted tones of the stone buildings.
These panels represent a shift in the artist's approach to composition. Rather than seeking harmony, Botticelli focuses on the psychological weight of the narrative. The figures appear somewhat elongated, and their gestures are exaggerated to communicate the theological significance of the scenes. This series remains a primary example of the artist's late style, where the focus is on the moral and spiritual content of the subject matter. The work reflects the religious climate of Florence during the period, as the artist engaged with the teachings of Savonarola. The panels were likely commissioned for a private residence or a small chapel, intended for close observation rather than public display. The narrative structure allows the viewer to follow the chronological progression of the saint's life, from his conversion to his final acts of charity and his death. The work is a study in the economy of visual storytelling, using architectural lines to divide the space while maintaining a cohesive thematic thread across the entire series.
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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
Complete The Look
The Life of Saint Zenobius - 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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