The Libyan Sibyl, 1651 by Giovanni Francesco Barbieri Guercino
Canvas Print - 5460-GGF
Location: The Royal Collection, London, UKOriginal Size: 116.3 x 96.5 cm
Giclée Canvas Print | $65.15 USD
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*Max printing size: 23.6 x 19.5 in
*Max framing size: Long side up to 28"
"The Libyan Sibyl" 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 "The Libyan Sibyl" 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
The Sibyl at the center of this painting is quietly absorbed by her tome - an unusual choice, given that she was traditionally shown with a burning torch. Yet here, the artist labels her identity with the inscription "Sybilla Libya," shifting the emphasis to the contemplative act of reading. Historically, these ancient prophetesses were a favored theme for 17th-century patrons who enjoyed mingling classical mythology with Christian lore. Michelangelo's famous array of Sibyls on the Sistine Chapel ceiling had long since elevated them to revered status, and this piece taps directly into that lineage. By the mid-17th century, the concept of the Sibyl - pagan yet accepted by the Church - offered artists a chance to blend solemnity with a certain poetic mystique.
Upon closer inspection, the viewer notices the figure’s subdued glow against a dim backdrop. A soft light skims her cheek, creating delicate shadows along the curves of her turban and the gentle slope of her neck. The artist’s late style emerges in these softened tonalities, an evolution from the bolder chiaroscuro of his early years. Warm pinks and orange-browns clash almost provocatively with the cool blue of her dress, striking a balance between tension and harmony. The cloth swirls about her form in broad, economical strokes - there is no excessive detail, yet the effect is luxurious. Each element directs attention to her focused demeanor, especially as her elbow and the angle of her torso guide the viewer’s gaze toward the inscription on the adjacent book.
Commissioned in 1651 as part of a pair for Ippolito Cattani of Bologna, this half-length figure was intended to be displayed alongside another Sibyl, the Samian. Both works reportedly carried the same distinctive spelling of "sybilla," a hallmark of the artist’s inscriptions that he adjusted in subsequent years. In painting this Libyan Sibyl, he relied on a refined touch that blends restraint with gentle sensuality, particularly evident in the warm flesh tones and the modest size. Even traces of alteration, such as the higher line of drapery originally across her left shoulder, bear witness to the artist’s careful planning. The final effect is a reflection on prophecy and human concentration - the figure is lost in her own reverie, quietly suggesting the weight of her knowledge while the broader religious narrative lies just beneath the surface.