The Virgin Adoring the Sleeping Christ Child, c.1490 Sandro Botticelli (1445-1510)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Sandro Botticelli also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Virgin Adoring the Sleeping Christ Child is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

The Virgin is shown kneeling in quiet reverence, her gaze turned down to the Christ Child, who rests asleep upon a dark foreground. The gentle folds of her blue mantle, offset by the pink of her inner garment, suggest a tender humility that draws the eye toward the child's relaxed form. Around them, roses and other flowering plants create a sheltered space - a metaphorical enclosure that alludes to the Virgin’s purity, echoing references from the Old Testament Song of Solomon. The painting’s overall atmosphere is one of calm contemplation, its figures and setting inviting a sense of hushed devotion.

Botticelli’s color palette appears restrained yet deliberate. The deep blues and reds serve as visual anchors, highlighting the emotional gravity of the scene. Subtle gradations in the Madonna’s robes convey a measured softness, while the pinkish hue of her dress and the warm flesh tones of the Child provide a gentle contrast. Meanwhile, the scattered red strawberries and the blush of the roses inject delicate points of brightness that balance the predominantly cool backdrop.

In terms of technique, the painter’s refined brushwork emerges in the careful treatment of fabrics and the meticulously rendered floral details. Botticelli’s decision to work on canvas - an uncommon choice for the period - suggests a level of experimentation that aligns with the evolving artistic practices of late 15th-century Florence. The tender modeling of the Virgin’s face reveals the influence of Filippo Lippi, Botticelli’s mentor, whose emphasis on line and soft transitions is clearly reflected here.

Compositionally, the viewer’s gaze moves in a gentle arc from the Virgin’s bowed head to the Christ Child, then outward to the ring of roses framing the scene. This enclosed garden motif not only symbolizes chastity but also accentuates the intimacy of the moment. The sleeping pose of the Child, rare in devotional images of this era, foreshadows the eventual sacrifice of Christ, further underscored by the subtle presence of symbolic plants. In the domestic context for which it was likely created, such an image would have fostered quiet reflection on the dual aspects of the Nativity - both the joy of birth and the sorrowful knowledge of the passion to come.