Visitation of Mary, c.1440/45 by Rogier van der Weyden
Canvas Print - 919-WRV
Location: Museum der Bildenden Kunste, Leipzig, GermanyOriginal Size: 57 x 36 cm
Giclée Canvas Print | $51.40 USD
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*Max printing size: 22.4 x 14.2 in
*Max framing size: Long side up to 28"
"Visitation of Mary" 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 "Visitation of Mary" by Rogier van der Weyden, 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
Rogier van der Weyden’s "Visitation of Mary" feels like a delicate tension barely held in check. There’s something disarmingly tender here, but also unsettlingly restrained. Mary, draped in blue, looks away, lost in her own thoughts, while Elizabeth - all draped in red, bold as life - leans in, hands on Mary’s belly, but not quite touching, like she's afraid of something breaking. It’s a quiet scene, but there’s so much happening beneath that surface.
Let’s talk about those colors. The blue of Mary’s cloak is cold, distant, and heavy, as though it's weighing her down. In contrast, Elizabeth’s red is like a burst of blood - the weight of age, the color of the womb, of urgency. Van der Weyden’s palette, though simple, is full of contradictions, and that’s where the magic lies. It’s subtle, but the interplay of these two colors is where all the emotional charge is stored - a push and pull, a kind of dialogue between innocence and experience, youth and age.
Then there’s the composition - controlled to the point of almost suffocating. The figures stand pressed against the edge of the painting, their forms almost unnaturally sharp. Van der Weyden renders every fold of cloth with such crispness, it’s almost surreal. The sharp contours contrast the softness in their expressions. There’s real tenderness in the way Elizabeth reaches for Mary, but her face looks weary, worn with the kind of knowledge that Mary doesn’t yet possess. It’s all in the eyes, really - Mary’s are downcast, distant, while Elizabeth’s are alert, full of something like anxiety.
Behind them, the architecture and landscape feel like stage props - placed to support the drama but never distracting from it. You get the sense that the real world is too far away to matter here. It’s all about this moment, this exchange, caught forever in a kind of visual suspense.
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