Free downloadable Catholic paintings of the Virgin Mary
The dramatic contrasts of light and dark reveal the long aftereffects of Caravaggio in Naples. Yet, the elegant forms, rich colors, and perfected body of Christ have far more affinities with the idealizing strand of Italian art in the 1600s and 1700s. Solimena sought to improve on nature, based on t
This image of Madonna with the Christ Child on her lap has been extensively altered by restoration. During the Renaissance, it was important that the Christ Child's genitalia be exposed, for it declared that Christ is the humanization of God, that he experienced temptation, and that in his exposure,
This panel reveals a long history of changes. The initial work was painted on a single slab of wood, with strips left unpainted along the top and bottom. At an unknown time, the panel was probably cut down on the right and left sides, and the two blank strips at the top and bottom were filled in to
The scene of the Annunciation to Mary that she will give birth to Christ is depicted here as a contemporary scene that may have been familiar to any viewer at the end of the 1400s. Mary is portrayed as an ordinary but wealthy woman who is interrupted by the Archangel Gabriel as she reads a book of h
One of the largest surviving depictions of the Annunciation, this imposing painting was most likely commissioned by Ferry de Clugny, whose family coat of arms—the two joined keys—decorates the carpet and stained-glass window. In 1465, Ferry founded the Chapelle Dorée as his burial site in the Saint-
These wood panels were once wings for a portable triptych that could close, hiding the now-missing center panel. Rather than flat wooden supports that were then framed, these panels are examples of "engaged frames," in which the same piece of wood has been carved to create both the pictorial surface
Exchanging affectionate glances with her squirming son, the Virgin has a crown and halo designating her as queen of heaven. Combining the courtly elegance of French painting and the spatial innovations of Italian art, this picture exemplifies the heights attained under Charles IV (1316-1378), Holy R
This important altarpiece was most likely painted for the church of Santo Stefano al Ponte, in Florence, by one of Giotto di Bondone's closest pupils. Originally the figures were shown on individually framed arched panels, as was traditional with Gothic altarpieces. A century and a half later the Go
This painting shows the Virgin Mary, half-length, standing behind a balustrade with the Christ Child seated beside her on a raised step. It is by Garofalo, a leading painter of the School of Ferrara active in the early 16th century.
This tender painting shows the Virgin Mary tenderly embracing the Christ Child, who stands blessing with his right hand on her lap. It is attributed to the Venetian Renaissance master Giovanni Bellini, painted between 1470 and 1480.
This painting shows Mary turning toward the angel Gabriel, who kneels before her holding a branch of lilies, as she kneels before a table with an open book. Above, the dove of the Holy Spirit descends amid little angels on clouds. It is by the Spanish Baroque painter Bartolome Esteban Murillo.
This painting shows the Virgin Mary and the Christ Child seated before a window overlooking a city with a canal. The child holds a string of beads in his hands. It is by Bergognone, a painter of the Lombard Renaissance who worked mainly in Milan and Pavia.
This painting of the Virgin and Child, made between 1506 and 1512, is by the Venetian Renaissance painter Cima da Conegliano. He was known for painting quiet, contemplative religious scenes with detailed landscape backgrounds, and repeated the Madonna and Child theme in many variations throughout hi
This painting depicts a vision of the Virgin Mary appearing to Saint Philip Neri, the 16th-century Roman priest known for his joyful spirituality. It is by the French painter Etienne Parrocel, who spent most of his career in Rome and was in demand for religious commissions during the 18th century.
This painting shows the Virgin Mary and the infant Christ set before a landscape. It is by the Italian Renaissance painter Giovanni Antonio Sogliani, who was active mainly in Florence and trained in the workshop of Lorenzo di Credi.
Icon of the Adoration of the Magi from the middle of the 17th century, from the Sambir region of Ukraine. It is in a private collection.
Icon of the Adoration of the Magi from the middle of the 16th century, from the village of Busovysko. It is held in the Andrey Sheptytsky National Museum in Lviv, Ukraine.
Sassetta worked for a wealthy clientele, executing a limited number of paintings that focus on material splendor and refined detail. The glittering effect created by his technique of scratching into the painted surface to reveal the gold layer beneath—seen in passages like the angels’ wings and garm
Italian tempera and gold on wood painting of the Annunciation, attributed to Maestro Esiguo (possibly Alesso di Benozzo). The painted surface measures 40.6 x 36 cm.
The Assumption of the Virgin, celebrated on August 15, is an especially important holiday in Siena. Niccolò di ser Sozzo, one of the city's renowned fourteenth-century illuminators, painted it on numerous occasions. Tempera, ink, and gold on parchment, 57.5 x 40.4 cm.
Icon of the Adoration of the Magi by the Rybotychi school, made in the 1680s. It is held in the National Museum in Warsaw, Poland.
Icon of the Adoration of the Magi from the Sudova Vyshnia school, made in the second half of the 17th century. It is kept in the Historical Museum in Sanok, Poland.
This triptych icon was probably commissioned by a lay person for private prayer and meditation. It could be folded and shut when not in use. Painted wood panel within an enameled brass frame, Russia, about 6.5 x 6.2 cm unframed.
This leaf came from a book of hours, a devotional book popular in the Middle Ages. They contained prayers that a devoted individual would use throughout the day.
