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The Immaculate Conception
1637 · oil on canvas · Columbia Museum of Art
For the Immaculate Conception · 8 December
Sizes
image 6.9×10 in on a 8×10 in sheet
The museum’s file supports 18×24 in at 260 dpi; a larger sheet would fall below our floor.
What is dpi?
Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsAbout this painting
Our Lady stands barefoot on a thin moon, and the cloud beneath her is full of cherubs' faces. Her palms are joined. Sandra Cheng's Kress catalogue essay finds pentimenti under them: Jusepe de Ribera first crossed her hands on her breast, as in the high altarpiece at Las Agustinas Descalzas in Salamanca, made two years earlier for the same patron, the Count of Monterrey, then painted them over in prayer. Cheng reads this smaller canvas as a personal image for the cloistered nuns. The white tunic and blue mantle follow Pacheco's prescription. Saint John saw a woman clothed with the sun, the moon under her feet, a crown of twelve stars; Richard Stracke notes that Ribera does not clothe her with the sun but sets it at some remove on the left. Over her head hovers the Dove of the Holy Spirit. The sun keeps its distance.
Sources: "Columbia Museum of Art's Jusepe de Ribera, Immaculate Conception, 1637" · Kress Foundation object record / academia.edu essay commission chain · Richard Stracke, Christian Iconography, 'Immaculate Conception, Jusepe de Ribera' (Columbia Museum of Art). · Apocalypse 12:1, Douay-Rheims.