Borne aloft by two angels, the Virgin is crowned Queen of Heaven by Christ, God the Father, and the Holy Spirit (in the form of a dove). Below, Joseph and Saint Francis of Assisi, displaying the stigmata on his open hands, kneel in reverence as they bear witness to the celestial ceremony. Swirling, shimmering, jewel-toned draperies enliven the composition and accentuate the otherworldliness of the subject. The naturalistic faces of the saints below contrast with the idealized features of the figures above, emphasizing the separation between heaven and earth. Though the painting is relatively small in size, it is apparently not a modello or study for a larger work—the use of a labor-intensive wooden support, along with the painting’s very elaborate finish, indicate that it was an autonomous work. Procaccini’s decision to paint this subject on such a small scale is unconventional—coronation scenes were more often painted as large-scale altarpieces—and necessitated the compression of figures into a tight space.
Procaccini’s beginnings were as a sculptor. The precise date of this painting is unknown but it is likely to originate from early in the artist’s career when he made the transition from sculpture to painting. The method of execution is revealing in this regard—the solidity of the figures, the sweeping arcs, and sharp edges that make up the drapery are reminiscent of carved marble. The inclusion of a landscape in the background of this scene is similarly supportive of an early date. The artist’s brother, Carlo Antonio Procaccini (1571 – 1630), was also a painter, and a specialist in Flemish-style landscape painting, and Procaccini collaborated with him at different points in his career. Apparently influenced by the work of his elder brother, Giulio’s early works also incorporate landscape elements.
We make each of our prints one at a time—just for you.
Our Giclée Prints are printed here in Switzerland, one at a time, on heavy matte German art paper using the finest 12-color Canon archival inks. Some images are panoramic or tall and narrow—please select the 18" x 36" format for these.
Our Premium Museum Frame in Black is custom-made in Lugano, Switzerland, using natural wood moulding in a matte black satin finish. Each includes thick, hand-cut white mat boards and Plexiglass glazing. We tailor and print each image to fit its specific ratio and dimensions within our custom-made frames. The hand-cut mats are extra thick. Each bespoke museum frame ships in a custom box. Rush shipping is available for projects with tight deadlines—this is our specialty, and you will not be disappointed.
Our Antiqued Museum Frame in Gold is a high-quality frame made of solid wood, featuring traditional 19th-century cast plaster moulded details and closed corners. These frames are works of art in themselves, each with a unique patina. The hand-rubbed corners and gold finish evoke the elegance of times past. Your selected image is printed on German art paper with archival inks and mounted to quality art board within the frame. Plexiglass is added for print protection and the back is covered with Kraft paper and a hanger is supplied ready to hang..
Our Stretched Canvas prints are hand-stretched over 1.25" thick pine bars and printed with archival inks on a cotton-poly matte finish canvas. These are best-in-industry Swiss-quality canvases, hand-coated for UV protection.
Wall Murals are printed on a matte-finish, self-adhesive poly/fabric material that mounts easily and is ideal for smooth wall surfaces.
Our Note Cards are amazing—each is printed individually on 100% cotton art paper, comes with a kraft envelope, and is individually sleeved. (Image is scaled to fit the format.)
All of our images are digitized from the original negative or print and printed by our master printer to museum standards.
Questions? Please email service@archivea.com or call/text +41 79 265 8891.
Artwork in this collection is from The J. Paul Getty Museum. Reproduction rights are reserved by the copyright owner and used under license by Archivea GmbH.
