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Johannes Vermeer · c.1670–72

Allegory of the Catholic Faith

Posters from $15.00 CAD · Canvas from $39.00 CAD

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A woman in white and blue sits with her foot on a globe and her hand on her heart beside a table with a chalice, a crucifix and an open Bible; a tapestry is drawn back at the left and a glass sphere hangs above. The Metropolitan Museum of Art, New York.

Up to 12 × 15.5 in · portrait

Size

Larger sizes are unavailable for this painting because the source scan's resolution wouldn't print at gallery quality.

Format & finish

Archival cotton canvas stretched over a wooden frame. Ready to hang as-is. No external frame.

Scale next to a 5'10" person

12″15.5″

+ tax at checkout

Materials & quality

›Canvas & inks

Giclée-printed on archival cotton canvas with fade-resistant pigment inks, hand-stretched over wooden bars. Gallery-wrapped — ready to hang with no extra frame needed.

›Floater frame

Hand-finished solid wood floater frame in five finishes. The canvas sits inside with a clean shadow gap — the way galleries hang contemporary canvas.

›Posters

Premium archival paper — 200 gsm soft matte or 230 gsm vibrant glossy. Ships flat or rolled, ready for your own frame.

›Faithful to the source

Printed from the highest-resolution museum and archive scans available. Each painting's maximum size is capped at what its source scan can support at gallery quality.

The story of Allegory of the Catholic Faith

One of Vermeer's last paintings and, with The Art of Painting, one of his two allegories. The figure follows the description of Faith in Cesare Ripa's emblem book Iconologia; the crushed snake and the apple on the floor stand for sin overcome. It was probably painted for a Catholic patron in Delft. The painting came to the Metropolitan Museum with the Michael Friedsam collection in 1931.

Adapted from Wikipedia, available under CC BY-SA 4.0.

Johannes Vermeer

Johannes Vermeer was a Dutch painter who specialized in domestic interior scenes of middle-class life. He is considered one of the greatest painters of the Dutch Golden Age. During his lifetime, he was a moderately successful provincial genre painter, recognized in Delft and The Hague. He produced relatively few paintings, primarily earning his living as an art dealer. He was not wealthy; at his death, his wife was left in debt.

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Biography adapted from Wikipedia, available under CC BY-SA 4.0.

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