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 –
Jesus Washing Peter's Feet was exhibited in the same year that Brown began his masterpiece, Work (1863). This picture evokes the same message as Work: that of the class system being un-Christian. Brown took the subject for Jesus Washing Peter's Feet from the Book of St. John; his intention was to portray the shocked reactions of the disciples as wrong, suggesting that they should, like Jesus, believe all people to be equal. Similarly, in Work, he tried to expose the stupidity of the English class system, ridiculing the upper-class residents for their snobbery toward the laborers – without the laborers' vital work on the sewers the residents could die from cholera. In the same way that Brown depicted the brawny laborers in Work, the musculature of Jesus' arms indicates a strong, working man.
Adhering to Pre-Raphaelite tradition, Brown used family and friends as models for Jesus Washing Peter's Feet. F.G. Stephens, Dante Rossetti, William Rossetti, Tom Seddon, William Holman Hunt and Hunt's father posed. Lizzie Siddal also modeled.
Jesus Washing Peter's Feet was sent to the Royal Academy, but its unfortunate placing in the exhibition (bad lighting and away from the crucial "line") infuriated Brown to such an extent that he stormed out of the Academy abd determined to exhibit – and hang – his works under his own initiative in future.
Hawksley, Lucinda. Essential Pre-Raphaelites, Paragon Publishing, 2002, pg. 62.
Tate Gallery, London, England