The Adoration of the Shepherds, 1644 by Georges de La Tour
Canvas Print - 22310-GDT

Location: Louvre Museum, Paris, France
Original Size: 107 × 131 cm

Own a museum-grade giclée Canvas Print of The Adoration of the Shepherds by Georges de La Tour (1644). It is printed with archival pigments on 400 g/m² canvas and hand-varnished with a UV-protective layer. Set your exact proportional size—anything up to 33.3 × 41.3 in, with optional framing. Free worldwide shipping for rolled artworks. Unframed prints ship within 48 h, framed prints in 7-8 days. Guaranteed 100-year color durability.

The Adoration of the Shepherds, 1644 | Georges de La Tour | Giclée Canvas Print
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Giclée Canvas Print | $75.88 USD

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SKU:22310-GDT
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Largest Available
33.3″ × 41.3″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 inches in borders beyond these dimensions for stretching.

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Your Questions Answered: Fine Art Prints, Framing, Care & Delivery

Giclée Print Quality 400 g/m² Canvas (Satin Gloss) + 1.2 in Borders for Stretching 100+ Year Colour Guarantee Free WorldWide Shipping!

Most people search for “canvas print” or “wall art” - but what they’re really looking for is a giclée print: a museum-grade reproduction of the original masterpiece, printed with archival pigment inks on fine art canvas.

Giclée (pronounced 'zhee-clay') is a French term meaning 'to spray,' referring to how ink is precisely sprayed onto canvas or paper, creating incredibly detailed fine art prints. It’s the gold standard in museum-quality printing, loved by artists, galleries, and museums worldwide.

Your artwork will be printed on premium canvas using vibrant archival inks, faithfully capturing every brushstroke and subtle nuance of Georges de La Tour's original. To ensure lasting beauty, each print is finished with a protective UV varnish. Far superior to ordinary posters, your canvas print will look and feel like a real painting, retaining its vivid colors and pristine details for more than 100 years.

About Giclée Fine Art Printing

Here's a simple trick: use painter’s tape to mark the print size directly on your wall, and step back to see how it feels. Generally, larger sizes around 36 in wide work beautifully in living rooms or open spaces. Medium sizes around 24 in fit nicely in bedrooms, hallways, or offices. Hanging it above a sofa? Choose a print that's roughly two-thirds the width of your couch. Still unsure? Start with our popular 17.4 × 21.7 in size—it fits comfortably in most spaces!

For a more artistic approach: choosing a size closer to the original artwork ensures you experience the artist’s intended visual impact and authenticity. Of course, since most of us don't live in spacious baroque palaces, your available space and personal taste should ultimately guide your decision.

In many cases, yes! If you need a specific size to fit a particular space or frame, feel free to reach out—we're happy to see what’s possible. Because each print is made to order, we can often accommodate custom dimensions as long as they respect the proportions of the original painting.Just send us an email at info@topartprint.com with the title of the artwork and the size you're looking for. We’ll get back to you quickly with options and pricing.

Good to know: when you choose the size of your artwork, the Print Size shown in the Your Selection box refers to the actual image area—that’s the part you’ll see once the canvas is stretched or framed.

The Total Size includes an additional 1.2 in white border on each side, added specifically for stretching.
So yes—this white border is added on top of your selected print size. You get the full artwork at the dimensions you picked, plus extra canvas to make stretching smooth and professional.

For example, if you select a 17.4 × 21.7 in print, the full canvas you receive will measure 19.8 × 24.0 in—giving your framer plenty of room to create a clean, gallery-quality stretch.

Both options are wonderful choices! Going unframed gives you maximum flexibility—you can take your print to a local framing shop for personalized options and expert advice tailored to your décor. This is especially great if you have specific design ideas or want to match existing frames in your home.

However, keep in mind that a print truly comes to life when properly framed. Art professionals often say: 'The frame contributes 30% of the artwork’s overall impact.' A well-chosen frame elevates and completes your print.

If you choose our framing option, your print will arrive professionally framed and ready to hang right out of the box. We focus exclusively on traditional framing methods, ensuring every artwork receives the respectful presentation it deserves—this is why we don't offer gallery wrap options.

Important shipping note: Due to courier restrictions, we can ship framed prints up to 28 in on the longest side. Larger prints will arrive safely rolled in a tube, ready for you to frame locally.

For more detailed information, please see our complete guide to fine art framing methods.

We've carefully selected this premium canvas because it brings out the absolute best in Georges de La Tour's work. Made from natural cotton with a 400 g/m² weight, it has just the right texture to capture every brushstroke and detail of the original painting.

What makes our canvas special? The satin-gloss finish. Think of how paintings look in museums with that beautiful varnish—that's exactly the effect we're going for. This glossy surface makes colors pop with incredible vibrancy while giving deep, rich blacks that matte canvases simply can't achieve. The result? Your print has that authentic 'real painting' look with extraordinary depth and life.

Plus, our canvas is acid-free and pH-neutral, so it'll stay beautiful for generations. We believe The Adoration of the Shepherds deserves nothing less than this museum-quality treatment.

Every print is made just for you—no mass production here! Once you place your order, we begin creating your The Adoration of the Shepherds print with care and precision.

Unframed prints are crafted in 2–4 business days.
Framed prints take 7–8 business days to build and finish.

Shipping options:
Standard Delivery (Free): Up to two unframed prints per order, provided that the short side does not exceed 59 cm (approx. 23 inches), with delivery in 10–14 working days.
Express Shipping: Delivered in 2–4 working days; costs vary by weight, volume, and destination. After adding the artwork to your cart, use the Shipping estimates tool there for exact pricing.

Note for framed prints: Because they’re bulkier and higher-value, framed artworks ship only via express tracked service and do not qualify for free standard delivery.

Packaging:
Unframed prints: Safely rolled in postal tubes.
Framed prints: Packed in reinforced boxes with corner protectors and bubble wrap.

You’ll receive a tracking number as soon as your order leaves our studio—so you can follow every step of its journey!

It’s super easy! Your giclée print is designed to last over 100 years when properly displayed. We’ve already applied a UV-protective varnish, so there’s no need for any extra treatments on your part.

Just follow these simple tips:
  • Hang your print away from direct sunlight and high humidity
  • Dust gently with a soft, dry cloth if needed
  • Avoid touching the printed surface directly
  • Keep the room temperature relatively stable
That’s it! With these basic precautions, your Georges de La Tour print will retain its vibrant colors and pristine condition for generations to come.

We want you to truly love your art. Since each piece is custom-made just for you, we kindly recommend double-checking the size and details before placing your order. But if something’s not right—especially in terms of quality—we’re here to help and will make it right.

We offer a 30-day return policy and accept returns for items damaged during shipping. Our return process is simple and straightforward:
Step 1 – Let us know: Send an email to info@topartprint.com with your order number and a brief explanation of the issue.
Step 2 – Send it back: We’ll reply with clear instructions for returning the print. Please return it in its original packaging and in good condition. You cover return shipping (unless we sent a damaged/incorrect item). After inspection, we'll send a replacement or refund the product price.
Please note: shipping costs are non-refundable.

For framed artworks: Since framed prints are handcrafted specifically for your order, returns are accepted only at our discretion and require a valid reason. But don’t worry—our support team is friendly, responsive, and ready to assist.

About the Painting

A single candle does all the work here – and even that is hidden. Saint Joseph's hand cups the flame, shielding it so that light spills sideways across the swaddled infant and upward into the faces of the gathered figures. This gesture is the quiet engine of The Adoration of the Shepherds, painted by Georges de La Tour around 1644 and now among the treasures of the Louvre. It is a painting about concealment as much as revelation.

Six adults encircle a newborn lying in a rough manger. The Virgin kneels at left, her hands pressed together in prayer, her red robe pooling in heavy folds. Opposite her, Joseph crouches at the lower right, his body angled inward, one hand wrapped around the candle, the other steadying it. Between them, three shepherds crowd the background. One grins openly, a wooden flute tucked under his arm, his hand touching his hat in a gesture of unpolished reverence. A woman beside him carries what appears to be a covered dish. To their right, another shepherd – older, bearded – clasps his hands. An ox noses in from the shadows behind the child, its warm presence almost palpable. You can nearly smell the straw.

The palette is nearly monochrome: deep umber, burnt sienna, flashes of scarlet and orange-red, and one cool note of blue along the Virgin's left sleeve that acts like a breath of night air in an otherwise firelit room. Tour builds his forms with the discipline of a sculptor. Faces are simplified into broad, rounded planes. Drapery falls in stiff geometric arcs. There is very little atmosphere between figures – depth is compressed so that the scene reads almost as a frieze, bodies stacked and locked together.

This geometric severity links the painting closely to Tour's Tears of Saint Peter, signed and dated 1645, where similar rounded volumes and muted earth tones prevail. Both works belong to the artist's late nocturnes, in which candlelight becomes a philosophical instrument rather than a decorative effect. Where Caravaggio's tenebrism strikes like a blow, Tour's darkness settles in slowly, more like silence filling a room.

The theological logic is precise. Joseph holds – and hides – the light. In Bérullian spirituality, widely current in seventeenth-century Lorraine, Christ was understood as the hidden God, the divine Word veiled in infant flesh. Joseph, as foster-father, was the guardian of that concealment until the time of public revelation. His cupped hand over the candle enacts this idea with beautiful literalness. The motif of a radiant Christ child descends ultimately from Correggio's Holy Night in Dresden, but Tour strips away Correggio's celestial choirs and operatic scale. What remains is intimate, domestic, and hushed.

Perhaps the most affecting detail is the child's expression – or rather, the absence of one. The baby sleeps, tightly bound in white cloth, oblivious to the awe surrounding it. Light bathes its face with an almost porcelain smoothness. Against the ruddy, weathered features of the shepherds, this pale stillness feels otherworldly without any supernatural apparatus.

The painting was trimmed at bottom and right; a copy preserved in Albi reveals that Joseph's carpenter's tools once lay prominently below the manger, anchoring the scene in labour and craft. Their loss changes the balance slightly, but the emotional centre holds. Stand before this canvas long enough and the gallery noise recedes. What remains is warmth, shadow, and a held breath – the hush of people gathered around something they do not fully understand but know, instinctively, to be sacred. Georges de La Tour gives us no angels, no golden haloes, no heavenly glow. Just a candle, a hand, and faith that the hidden light is enough.

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