The Virgin with a Rose (The Holy Family with Little Saint John), c.1520 by Raffaello Sanzio Raphael
Canvas Print - 11321-RSA
Location: Prado Museum, Madrid, SpainOriginal Size: 103 x 84 cm
Giclée Canvas Print | $66.71 USD
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*Max printing size: 51.2 x 41.2 in
*Max framing size: Long side up to 28"
"The Virgin with a Rose (The Holy Family with Little Saint John)" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "The Virgin with a Rose (The Holy Family with Little Saint John)" by Raphael, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
Raphael’s later Roman period brought a maturity that resonates throughout this scene - yet it owes much to his earlier Florentine style, notably in its gentle handling of form. Scholars believe the panel, likely commissioned for a private chapel, was completed around 1517. Over time, it was transferred to canvas, altering its proportions. The lower section, featuring the rose that has come to define the painting, is apparently a later addition. That layer of history hints at a tumultuous passage through various owners and restorers, culminating in a version that now bears subtle abrasions and modifications.
Color - or rather its deft restraint - sets the tone. The soft overlays of blue, laid atop a pinkish ground, imbue Mary’s robes with a shifting luminosity. By restricting the palette, the artist shapes an inward-looking atmosphere, emphasizing warm flesh tones rendered in delicate strokes. This limitation does not constrain the painting’s emotional depth. Instead, it heightens the gentle glow that bathes Mary, Joseph, and the children, recalling the smoky transitions of Leonardo’s sfumato.
In this work, compositional elements guide the viewer’s gaze in a deliberate dance. Joseph lingers in the background, partially obscured, yet his contemplative expression introduces a subdued gravity to the family circle. Mary’s serene posture stands at the heart of the painting, with her downward gaze leading to the Christ Child. Meanwhile, Saint John the Baptist, as an infant, reaches out in a tender interaction that underscores the humanity of this sacred gathering. Everything funnels our attention toward the subtle intimacy at the center.
What truly captivates is the technical skill on display. There is a consistent refinement in the brushwork, particularly noticeable in the hair and the lightly shadowed folds of drapery. Despite the possibility of workshop involvement - a practice that was especially sophisticated in Raphael’s studio - the painting sustains a cohesive, carefully orchestrated finish. The translucent layering suggests a thoughtful approach to texture and light, something that links this piece to Raphael’s Madonna of the Pearl.
A final glance at the figures reveals a surprising tranquility. The gentle tilt of Mary’s head, Joseph’s reserved watchfulness, and the toddlers’ spontaneous interaction suggest both learned compositional modeling and rapid execution. In this balance of quiet intimacy and measured technique, we glimpse an artist revisiting earlier Florentine roots even as he embraces the influences of Leonardo and Fra Bartolomeo. Today, despite subsequent restorations and adjustments, this painting still contains a soulful tenderness, capturing the hush of devotion within its softly lit contours.
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