Altar of the Archangel Michael, c.1510 by Gerard David
Canvas Print - 4315-DAG
Location: Kunsthistorisches Museum, Vienna, AustriaOriginal Size: 66 x 53 cm
Giclée Canvas Print | $60.21 USD
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*Max printing size: 26 x 20.6 in
*Max framing size: Long side up to 28"
"Altar of the Archangel Michael" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "Altar of the Archangel Michael" by Gerard David, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
Gerard David’s "Altar of the Archangel Michael" (c. 1510) captures a moment of profound spiritual and cosmic conflict, one that pulses with energy yet remains meticulously controlled within its composition. The central figure of Archangel Michael, bathed in a soft, otherworldly light, stands in quiet triumph over the twisted, grotesque forms of evil. David’s technique here is one of exceptional detail, using color and form to juxtapose the heavenly with the infernal in a way that feels both timeless and deeply anchored in the symbolic language of the Renaissance.
Michael’s wings, dramatic and darkly edged, sweep across the canvas, creating a sense of movement while framing his figure. His robes, a bold crimson edged with gold, billow with a sense of purpose. The cross-shaped staff he holds is both a symbol and a weapon, rendered in shining gold, piercing through the darkness. The softness of his youthful face, almost tender in its serenity, contrasts sharply with the nightmarish creatures writhing beneath him - a deliberate play on contrasts that invites the viewer to reflect on the relationship between good and evil, order and chaos.
David’s demons are disturbingly vivid, their misshapen forms a menagerie of nightmare, with snarling faces, gnarled limbs, and an eerie sense of malice. These beasts seem to crawl out from the very landscape itself, which is barren, rocky, and as unforgiving as the hellish forces that inhabit it. The texture of the rocks, the skin of the creatures, and even the folds of Michael’s robes are all rendered with a clarity that speaks to David’s fascination with the tactile world, yet each element serves the larger symbolic narrative.
Above, the heavens part, revealing a vision of divine serenity. God the Father, enthroned in golden light, gazes down as angels, delicate and serene, populate the sky. The palette here softens into pale blues and whites, lifting the composition and bringing a balance to the intense drama below. It is as if David wanted to remind us that, even in the midst of cosmic battle, the divine is always present, watching over, a source of ultimate peace.
David’s skill lies not just in his technical mastery, though it is undeniable, but in his ability to use every element - color, texture, composition - to convey a complex narrative. The bold reds, the vivid greens, the grotesque browns of the demons - all are chosen with intention, creating a harmony of opposites. This is not just a scene of conquest, but a meditation on divine justice, rendered with a precision and grace that elevate the subject beyond mere religious iconography. It is a painting that, for all its drama, leaves the viewer with a sense of quiet reflection, a moment of stillness after the storm.
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