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 -
In 1633 Rembrandt was commissioned to paint a series of paintings of the Passion for Prince Frederick Henry of Orange. This painting was the first to be finished in the series. Both the Prince of Orange and Huygens who was a statesman and spent most of his life in service to the prince thought Rubens was the most brilliant painter in the United Provinces. Rubens in 1633 was at the end of his career and Rembrandt was probably aware of the two men's opinions. Even with this probable knowledge Rembrandt chose to paint in his own style following his intuition. He did borrow from Rubens, while painting Descent from the Cross, a Rubens style, but changed it to reflect his own personality. Rembrandt went for simplicity and moved the main figures to the middle of the composition. Where Rubens liked his figures to show the classical ideal of the human body, Rembrandt showed a realism and a clear departure from this classical idealism. Rembrandt wants our attention to focus on the action surrounding Christ being lowered even though there is drama in the lower left corner of the painting, which he on purpose obscured from our view. The horizontal and vertical lines of the cross attract our eye. The unity between the figure holding on to the drape and the continuous unbroken line which leads down to the men catching the lifeless body of Christ serves as a unifying force so we're not distracted by other people and objects. Christ is respectfully and lovingly lowered from the wooden cross. The central figures involved in this task are not distracted by their surroundings but focus their loving attention on the figure of Christ. (Neumann, Cairas, Walke)
- Lisa Lussier, The Descent from the Cross: Two Paintings once assumed to be painted by Rembrandt
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