Guido Reni's Adoration of the Shepherds

Greeting Cards

Size:
$3.00
Harveylee

Boca Raton, United States

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Sizing Information

Small Greeting Card Large Greeting Card Postcard
4" x 6" 5" x 7.5" 4" x 6"

Features

  • 300gsm card with a satin finish
  • Supplied with kraft envelopes
  • Discount of 20% on every order of 8+ cards

Reviews

Artist's Description

Christmas: From our Christian Masterpiece Collection #CS1700, Adoration of the Shepherds by Guido Reni, 17th century. The adoration of the shepherds is based on the Gospel according to Luke 2:20: An angel appeared to a group of shepherds, saying that Christ had been born in Bethlehem, followed by a crowd of angels saying, “Glory to God in the highest, peace on earth to men of good will.” The shepherds then leave their flocks and hurry to Bethlehem to visit the infant Jesus making widely known what they had been told concerning him before returning to their sheep. They praise God for “all the things that they had heard and seen, as it was told them.” … Guido Reni (1575-1642) was an Italian painter of high-Baroque style. Born in Bologna into a family of musicians, at the age of nine he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, Accademia degli Incamminati (Academy of the “newly embarked”, or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Reni’s painting was thematic and eclectic in style. His frescoed ceiling of the large central hall of garden palace, Casino dell’Aurora, located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. His themes are mostly biblical and mythological in subject. He painted few portraits, and all of his works are spirited and painted in a light style of delicate lines and dots. Reni’s technique was used by the Bolognese school and was the standard for Italian printmakers of the time.

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