Madonna Enthroned with St. Matthew, 1588 by Annibale Carracci
Canvas Print - 9373-CAR

Location: Gemäldegalerie Alte Meister, Dresden, Germany
Original Size: 384 × 255 cm

Madonna Enthroned with St. Matthew by Annibale Carracci (1588) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 28 × 18.6 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

Giclée Canvas Print | $62.21 USD

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SKU:9373-CAR
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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28″ × 18.6″

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 21.7 × 14.4 in print therefore arrives as 24 × 16.7 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 28 × 18.6 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Annibale Carracci's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 384 × 255 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Gemäldegalerie Alte Meister, Dresden, Germany. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Annibale Carracci’s "Madonna Enthroned with St. Matthew" is what happens when an artist decides to throw away all restraint and go full-throttle Baroque - even though this was still the late Renaissance. And my goodness, does Carracci go for it! The whole scene is like a theatrical production crammed onto a single canvas. You’ve got angels swirling above, saints crowding below, and the Madonna and Child right in the middle, perched high on their heavenly pedestal, looking serene and, dare I say, slightly unimpressed with all the fuss going on around them.

The colors are where Carracci shows off his real technical prowess. There’s something almost juicy about the palette. The Madonna’s blue and white robes shimmer, glowing against the gold backdrop, which Carracci slyly hints at but doesn’t dominate. The reds pop, especially on St. John the Baptist’s cloak - rich, blood-like, absolutely throbbing with life. Everything is designed to keep the eye bouncing around the canvas, from the warm golden hues to the cooler blues and greens that Carracci weaves in to balance the frenzy.

What’s really clever is how Carracci balances the composition without it feeling stiff. The saints are almost conversational in their poses, each locked in their own private moment with the divine. St. Francis bends humbly, his expression the epitome of devotion, while St. John the Baptist, always the wild card, stretches his hand upward with an urgency that makes you wonder if he’s about to leap off the canvas. And then there are the angels - cheeky little putti swirling around like they’re in the middle of some cosmic ballet.

Carracci’s technique is, of course, flawless. Look at the musculature of the figures, how he captures the tension in St. John’s body, the softness in the Virgin’s hand. It’s that classic Carracci trick - making everything look effortless while stuffing the canvas with more drama than a Renaissance soap opera. And yet, somehow, it works. The whole thing feels like it's caught between heaven and earth - a glorious mess of devotion, passion, and Baroque bravado.

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