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Procession of Souls | Louis Welden Hawkins | 1890

Procession of Souls | Louis Welden Hawkins | 1890

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About the artwork:

Procession of Souls is a symbolist painting by Louis Welden Hawkins, created around 1890, during a period when European artists were increasingly turning away from realism in favor of psychological and spiritual themes. The work presents a silent, almost ritualistic movement of figures that appear detached from the physical world, suggesting a collective passage between life and death rather than a literal religious scene. Hawkins was closely connected to Symbolism and the Nabis circle, and his interest lay in inner states of being, memory, and the unseen forces shaping human existence. In this painting, individuality dissolves into a shared destiny, reinforcing the Symbolist belief that art should evoke ideas and emotions rather than describe reality. The restrained palette and simplified forms contribute to a meditative atmosphere, aligning the work with late nineteenth century anxieties about mortality, transcendence, and the limits of rational thought, themes that were central to Symbolist art at the fin de siècle.

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  • Title Portrait of Ginevra de' Benci (Ritratto di Ginevra de' Benci)
  • Artist Leonardo da Vinci (Italian High Renaissance polymath — painter, draughtsman, sculptor, architect, scientist, anatomist, engineer, inventor; Vinci, Florentine Republic, 15 April 1452 - Amboise, Kingdom of France, 2 May 1519; pupil of Andrea del Verrocchio in Florence c. 1466-1476)
  • Year of creation c. 1474-1478 (one of Leonardo's earliest known portraits, painted in his mid-twenties in Florence in the workshop of Andrea del Verrocchio just before his independent career began. The sitter is Ginevra de' Benci, born 1457, daughter of the wealthy Florentine banker Amerigo de' Benci — a friend of Marsilio Ficino. The portrait was traditionally identified as commissioned to mark Ginevra's marriage in January 1474, at the age of sixteen, to the considerably older Florentine cloth merchant Luigi Niccolini, but a more widely accepted modern view links it instead to her platonic admirer the Venetian ambassador to Florence Bernardo Bembo, who served diplomatic missions in Florence in 1475-1476 and 1478-1480 and stood at the centre of an elaborate humanist cult of courtly love around Ginevra, celebrated in verse by Lorenzo de' Medici, Cristoforo Landino and Alessandro Braccesi. Bembo's personal impresa — a wreath of laurel and palm — appears on the reverse of the panel, encircling a sprig of juniper that puns on Ginevra's name [ginepro = juniper] and reappears as the bushy juniper tree silhouetted behind her head on the obverse. The motto VIRTVTEM FORMA DECORAT identifies Ginevra's beauty as the outward sign of her virtue. The portrait was revolutionary on several counts: it is the earliest known Italian portrait to set its sitter in a landscape, the earliest to use a three-quarter pose turned to the left rather than the conventional strict profile, and one of the earliest examples in Florentine portraiture of the newly introduced Netherlandish oil technique. Leonardo applied the paint in extraordinarily fine layers, modelling the flesh and the misty Tuscan landscape behind it by smoothing the wet paint with his fingers — infrared examination has revealed his fingerprints embedded in the surface. The picture was first noted in Florence by the so-called Anonimo Gaddiano c. 1540, then disappears from view until it surfaced in the collection of the Princes of Liechtenstein around 1733, where it remained for over two centuries until its sale to Washington)
  • Technique/Medium Oil and tempera on poplar panel (painted on both sides — the reverse bears a roundel showing a wreath of laurel and palm encircling a sprig of juniper, with the Latin motto VIRTVTEM FORMA DECORAT [Beauty Adorns Virtue] inscribed on a scroll across the centre)
  • Original dimensions 38.1 x 37 cm (the panel was cut down at the bottom, probably in the late 16th or 17th century, removing the sitter's hands and forearms; the original full-length composition is known from a silverpoint study of female hands by Leonardo at Windsor that is generally accepted as a preparatory drawing for the lost lower portion)
  • Collection/Museum National Gallery of Art, Washington, D.C. (Ailsa Mellon Bruce Fund, accession 1967.6.1.a; acquired in February 1967 from the Princely Collections of Liechtenstein for approximately $5 million — at the time the highest price ever paid for any painting — making it the only undisputed painting by Leonardo da Vinci in any museum in the Americas)

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Customer Reviews

Overall rating: 4.7 / 5 from 1722 reviews.

Customer photo review of Ecce Homo | Antonio Ciseri | 1871

Beautiful print on canvas. Thinking of buying a bigger one for my house as my daughter would love this for her house.

Ecce Homo | Antonio Ciseri | 1871

Customer photo review of The Ambassadors | Hans Holbein the Younger | 1533

Okay, let me start by saying this is my favorite painting of all time. I love skulls. I am beyond thrilled to own this piece and show it off to all who enter! I cannot believe this was painted in 1533.. It stirs me. 10/10 piece. Easy. I am attaching two photos of the upper left corner where the crucifix lies hidden in plain sight. I am disappointed that the wrap of the canvas wasn't very tight on this one. Because of the loose wrapping.. you can clearly see that the crucifix is mirrored from the printing job and it kind of ruins that corner of the piece because it is a detail you aren't suppose to notice right away. Unfortunately it sticks out in plain view. I plan to take black paint and just tape off the edge and fill the outer edge so the crucifix has a proper corner to inhabit. Although, I am hesitant to try and alter something so expensive.. Not sure what to do.

The Ambassadors | Hans Holbein the Younger | 1533

Customer photo review of The Last Day of Pompeii | Karl Bryullov | 1830

Solid as usual. Solid as always. The Last Days of Pompeii is dramatic and moody; just what I wanted. Print quality is sharp, colors are faithful. The artwork is theatrical, and work well on canvas. I'm a history nut and have had a fascination with Pompeii since my teens, so this one had to join my collection. Happy with it.

The Last Day of Pompeii | Karl Bryullov | 1830

Customer photo review of Among the Waves | Ivan Aivazovsky | 1898

Absolutely beautiful piece of art, printed well and in a very nice frame that was packaged and delivered with no damage or issues with the contents.

Among the Waves | Ivan Aivazovsky | 1898

Customer photo review of The Beheading of St John the Baptist | Caravaggio | 1608

We made our first purchase from Inspiraggio, The Beheading of St John the Baptist | Caravaggio | 1608. We absolutely love it. The quality and framing are amazing. It changes the whole room. Thanks!!!

The Beheading of St John the Baptist | Caravaggio | 1608

Customer photo review of Death on the Pale Horse | Gustave Doré | 1865

I ordered two paintings from Inspiraggio, and both are of incredible quality and remarkably faithful to the originals. The canvas and frame both feel sturdy, and the level of detail is truly impressive. I’m delighted with my purchases and would definitely order from them again in the future

Death on the Pale Horse | Gustave Doré | 1865

Customer photo review of Chaos | Ivan Aivazovsky | 1841

Very pretty. I knew I had to have 'Vanity' when I saw it. 'The Great Red Dragon...' is... great as well. Both quality prints, really like how they look in my apartment.

Chaos | Ivan Aivazovsky | 1841

Customer photo review of Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900

It's a masterpiece! It really fits the horror theme of my office room. It scares my wife but that what I was going for. I will definitely order more photos, not just for me but as gifts as well. I already have "the laughing fool" picture on the way. Thank you guys

Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900

Customer photo review of Cotopaxi | Frederic Edwin Church | 1862

Very poorly packaged—thin cardboard; I don't know how it survived shipping. The stretcher frame is too weak, leaving the canvas sagging and barely taut; at least one extra crossbar needs to be added to get the tension up to an acceptable standard. Check pictures, description diameters for package was overestimated few cm.

Cotopaxi | Frederic Edwin Church | 1862

Customer photo review of Salvator Mundi | Leonardo da Vinci | 1490

Beautiful reproduction of Salvator Mundi. The quality of the artwork and framing are excellent, and I am very happy with the finished piece. I also want to commend Inspiraggio's customer service for being exceptionally helpful and accommodating when I experienced a shipping issue. I will happily purchase from them again.

Salvator Mundi | Leonardo da Vinci | 1490

Customer photo review of Abbey in the Oakwood | Caspar David Friedrich | 1809-10

I begin this review by recognising Inspiraggio’s excellent customer service. When one of two prints I ordered around the same time became delayed (the post office having dallied, misplaced it, or simply needed a kick up the whatsie), I contacted their team. They were straight onto it, offering to replace the print if it failed to arrive. They then contacted their courier, who in turn got in touch with Australia Post, and the package was delivered promptly. Throughout the process Inspiraggio’s staff kept me informed, and I could not rate their dedication to the customer any higher. Now to the prints themselves. Caspar David Friedrich’s best-known work is Wanderer above the Sea of Fog, yet here I chose Abbey in the Oakwood for its mood and tones. I am drawn to pieces that are stark, mysterious and dark. Is it a meditation on permanence, or does it simply resonate with those who value solitude? Who can say. Either way, it is a wonder. It also complements another piece I purchased from Inspiraggio after being introduced to the little-known Belgian artist Léon Spilliaert: Faun by Moonlight. Again the tones are dark, and it speaks directly to the somnambulist in me. Mysterious, haunting and evocative, it offers a quiet solace to those of us primed for solitude.

Abbey in the Oakwood | Caspar David Friedrich | 1809-10

Customer photo review of For What Was I Created? | William Holbrook Beard | 1886

William Holbrook Beard’s For What Was I Created resonates with me deeply. What begins as Victorian-style satire and humour opens into far deeper questions about society. I identify with this monkey through my own experiences at work and in the pursuit of politics—where society, the politics of the office, and the state itself reduce us to creatures of entertainment, or clowns to be ridiculed. It is a profound painting.

For What Was I Created? | William Holbrook Beard | 1886

Customer photo review of The Questioner of the Sphinx | Elihu Vedder | 1863

I have Inspiraggio’s YouTube channel to thank for most of the artwork I’ve purchased since I began collecting prints. This time I splurged on Elihu Vedder’s The Questioner of the Sphynx as a 12 × 9 framed canvas. Living in a small studio apartment means space is limited, but careful space management has let me keep expanding the collection by downsizing when necessary. Would I prefer the largest canvas available? Of course. Yet the impact is far from lost at this scale. The painting speaks to me through its existential symbolism. Not far from the questioner’s feet lies the skull of another seeker. Lately I’ve begun to wonder what question is actually being asked—whether it concerns existence itself, or simply the origins of the Sphinx—because the unanswered question is what continues to plague the seeker.

The Questioner of the Sphinx | Elihu Vedder | 1863

Customer photo review of Library | Franz Sedlaceck | 1939

This is so much fun. Seeing how similar Franz Sedlaceck's "Library" is to my own farmhouse library; I simply had to have it hanging over the fireplace. I thoroughly enjoy the different artists and works you expose us to and genuinely appreciate the thoughtful commentary and excellence of each presentation.

Library | Franz Sedlaceck | 1939

Customer photo review of Vanity | Frank Cowper | 1907

Beautiful prints, they don’t lie about the quality. I could not recommend these prints enough.

Vanity | Frank Cowper | 1907

Customer photo review of The Garden of Earthly Delights | Hieronymus Bosch | 1490

Awesome product, excellent service. Arrived quickly in perfect condition. We love this piece and have been lucky enough to see it in real life - and now get to look at it every day. Hurrah! Keep up the great work Inspiraggio!!

The Garden of Earthly Delights | Hieronymus Bosch | 1490

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