The Virgin Suckling the Infant Christ, c.1565/75 Tiziano Vecellio Titian (c.1485-1576)

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 Tiziano Vecellio Titian 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.

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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.
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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 Suckling the Infant Christ 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 painting depicts a quiet, intimate moment between a seated mother and her child. Her gaze rests upon the infant’s face as she feeds him, cradling his small form with an arm wrapped protectively around his back. The infant’s body twists away from the viewer, revealing the softness of his limbs and only a glimpse of his rosy cheek and brown hair. The mother’s attire is subtle, characterized by a muted palette of silvery-lavender tones, offset by the warm brown hues of her headscarf and the gentle glow of the child’s flesh.

Color here functions both as a unifying device and a reflection of human tenderness. The overall harmony of the silvery pastels—a combination of violet, grey, and faint pink—imbues the scene with a sense of calm and modesty. That slight introduction of warmer accents, such as the red fringe of the mother’s headscarf, underscores the child’s flushed complexion and creates a visual rhythm that moves the eye in a gentle arc through the composition.

Titian’s brushwork, especially in his later years, is often distinguished by its tremulous, painterly quality. In this painting, one sees a softening of the figures’ edges and a delicate blending that suggests forms gradually dissolving into light. The unblended strokes, which might appear tentative or incomplete at first glance, actually enhance the sensation of luminous flesh and textured cloth. Despite wear over the centuries—evident in the flattened surface and some faded glazes—the underlying layering of color remains visible, revealing a seasoned hand that was unconcerned with rigid detailing.

Compositionally, the figures fill the canvas without overpowering the pictorial space. The mother’s slightly inclined head guides our gaze downward, culminating in the tender gesture of feeding. Meanwhile, the child’s twisting posture acknowledges a classical reference—likely echoing motifs found in Michelangelo’s studies—yet it retains a unique softness suited to Titian’s sensibilities. This interplay of monumental form and painterly restraint creates a balanced scene that feels both monumental and intimate.

Contextually, the painting’s subject was once simply called “Mother and Child” due to its naturalistic portrayal, free from the typical symbols of sanctity. Yet the unusual decision to depict a mother breastfeeding, especially in a time when wealthy mothers often employed wet nurses, strongly suggests this is the Virgin and Child. The choice emphasizes humility and devotion, simultaneously reflecting the late-sixteenth-century reverence for the sacred bond of mother and infant. Like several of Titian’s final compositions, this work seems to merge the grandeur of earlier Renaissance ideals with a looser, more atmospheric method of painting. Such a synthesis of majestic form and quiet intimacy underscores the subtle power of this scene and its significance within the broader arc of the artist’s oeuvre.