Presentation in the Temple, c.1623 by Giovanni Francesco Barbieri Guercino
Canvas Print - 3243-GGF
Location: National Gallery, London, UKOriginal Size: 72.5 x 65 cm
Giclée Canvas Print | $70.74 USD
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*Max printing size: 41.3 x 37.1 in
*Max framing size: Long side up to 28"
"Presentation in the Temple" 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.
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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 "Presentation in the Temple" by Guercino, 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
At the heart of this painting is the quiet drama of the Presentation itself: the infant Christ, held by a weathered Joseph, extends toward the high priest Simeon, who seems to await not only the child but the promise of his own destiny. Mary’s presence, swathed in a deeply hued cloak, adds a note of solemn composure. Meanwhile, the doves resting on the temple steps, destined for sacrifice, punctuate the biblical dimension of the moment. Guercino underscores this episode of ritual with a tender, almost understated exchange between human hands and divine expectation.
Visually, the composition’s architecture works as a framework that draws the gaze from the foreground toward a weighty temple structure. Columns, stone steps, and ornamentation guide us steadily to Simeon, seated high on the right and framed by carefully orchestrated lighting. The influence of the painter’s time in Rome is felt in the rational distribution of space and the meticulous modeling of each figure, reminiscent of Domenichino’s crystalline clarity of form.
Equally striking is the scale of the work, especially for a painting on copper, which was typically reserved for smaller and more intimate pieces. Guercino defies convention by employing this costly material on a grand scale, capitalizing on its luminous properties to ensure every pigment glows with precision. There’s an immediate sense of immersion in the scene, as though the viewer is beckoned into the Temple’s domain by the sheer size of the panel.
Guercino’s brushwork feels measured yet fluid. Each fold of cloth and subtle turn of flesh displays a command of shading and tone. Traces of an opaque orange ground peek through - particularly around the architectural elements - adding a sense of warmth. That interplay of saturated color and gentle luminosity creates a sculptural solidity without ever feeling static. Even Joseph’s rough-hewn face, reminiscent of figures from the artist’s earlier works, conveys both the grit of daily life and an undercurrent of devotion.
Historically, this painting traversed a notable path: commissioned by Bartolomeo Fabri, later returned in settlement of a debt, and kept close by the artist himself. Guercino reputedly turned down multiple offers before finally parting with it in 1660 for a significant sum and a precious edition of Leonardo’s Treatise on Painting. Such a saga captures the personal importance of this canvas, suggesting Guercino saw in it not merely a completed commission, but a distillation of his evolving style and fervent approach to biblical narrative.
Giovanni Francesco Barbieri Guercino
Original Size:
*Max framing size: Long side up to 28"
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