These top-quality Fine Art Prints are printed on 100 percent acid free cotton archival Fine Art Paper: fine art velvet or ultrasmooth, depending on paper size. Ultrachrome inks enhance the archival properties of the media ensuring a print life of many generations.
The prints are reproduced as accurately as possible based on the original paintings. The images are not distorted in any way to make them fit standard print sizes. The images are enlarged or reduced proportionally to fit as close to the standard size as possible. This means the images are not cropped and each print will have every detail of the original painting. Consequently most prints will have a white border which can be covered with matte board prior to framing.
All orders are custom printed and shipped flat in boxes for domestic orders. Our largest prints and International orders are shipped on rolls due to shipping size restrictions.
A very important note: Each print is custom made to order and is therefore non-returnable. In the unlikely event that the print has a production defect, it will be replaced with the same size reproduction of the same exact piece of artwork. There are no exceptions to this policy.
About this beautiful image –
This picture, also known as Christ in the Carpenter's Shop, was unfortunately timed: its first exhibition came almost immediately after the journalistic revelation of what "PRB" meant – the movement was distrusted by the general public and viewed as subversive and arrogant. As a result, Millais' painting was denounced by most contemporary art critics and was further publicly censured by a scathing review from Charles Dickens. He was to describe the characters in the painting as "a hideous, wry-necked, blubbering red-headed boy, in a bed gown" (Jesus) and "a kneeling woman so hideous in her ugliness that … she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest gin shop in England: (Mary).
The conventional Victorian public dutifully followed their critics' lead and declared it a failure; it was the first of Millais' pictures to be insulted and he felt it deeply. Hunt's A Converted British Family… (1850) suffered the same treatment. In later years, both pictures came to be regarded as masterpieces.
Millais' picture was also criticized on religious grounds: some attacked it for what they believed were traces of Catholicism (in particular the prominence of the figure of Mary); others called it blasphemous for daring to depict the holy family in such a down-to-earth manner.
Hawksley, Lucinda. Essential Pre-Raphaelites, Paragon Publishing, 2002, pg. 30.
Tate Gallery, London, England