Էմանուել Լոյցե, 1852 - Տիկին Շույլերը այրում է իր ցորենի դաշտերը մոտեցման վրա - կերպարվեստի տպագիր

Ձեռք բերեք ձեր նախընտրած կերպարվեստի տպագրության տարբերակը

Ապրանքի բացվող ընտրացանկը ձեզ հնարավորություն է տալիս ընտրել ձեր նախընտրած չափսը և նյութը: Անհատականացման համար մատչելի են հետևյալ տարբերակները.

• Ակրիլային ապակու տպագրություն (իսկական ապակու ծածկույթով). A glossy print on acrylic glass, often referred to as a plexiglass print, changes your favorite artwork into amazing décor. Beyond that, it makes a viable alternative option to canvas and aluminidum dibond fine art prints. Your own copy of the artwork will be printed thanks to the help of modern UV direct printing technology. The result of this are vibrant and stunning colors. With an acrylic glass fine art print contrasts and also smaller image details will be recognizeable due to the very subtle gradation.
• Պաստառի տպագրություն (կտավ նյութ): A poster print is a UV printed flat canvas paper with a fine surface finish. The print poster is ideally suited for framing the art copy using a custom frame. Please bear in mind, that depending on the size of the poster we add a white margin 2-6cm round about the print to facilitate the framing with your custom frame.
• Կտավ տպագրություն. The canvas print is a printed canvas stretched on a wooden stretcher. Canvas prints are relatively low in weight, meaning that it is quite simple to hang up the Canvas print without the help of additional wall-mounts. A canvas print is suited for all types of walls.
• Ալյումինե դիբոնդ. Aluminium Dibond prints are metal prints with an outstanding depth effect. A non-reflective surface creates a fashionable impression. For your Direct Print On Aluminum Dibond, we print the selected work of art right on the surface of the white-primed aluminum.

Իրավական մերժում. We try the best we can in order to describe our art products as accurately as possible and to exhibit them visually in our shop. Still, some pigments of the printing material and the print result may vary marginally from the presentation on the device's monitor. Depending on the screen settings and the nature of the surface, color pigments might not be printed as realistically as the digital version. In view of the fact that our are printed and processed by hand, there might also be minor variations in the motif's exact position and the size.

General information from Los Angeles County Museum of Art (© - by Los Angeles County Museum of Art - Լոս Անջելեսի County Museum of Art)

Leutze returned to this country from Düsseldorf in September 1851 to be present during the exhibition in New York and Washington of his phenomenally successful showpiece Washington Crossing the Delaware. By February 1852, working in his New York studio, he had begun Mrs. Schuyler Burning Her Wheat Fields on the Approach of the British. It was to be the second of some dozen subjects from the Revolutionary War that he was to paint, capitalizing on the fact that the sensational response to his Washington Crossing the Delaware was henceforth to link his name with such subject matter. Patriotic feelings stirred by the Mexican American War had already inspired patronage for other artists’ efforts on such themes. Catherine Van Rensselaer Schuyler (1734-1803), wife of General Philip Schuyler, is shown setting fire to her wheat fields to keep them from the enemy, whose imminent arrival is announced by a messenger. The first account of this act of heroism to appear in print was a passage in the chapter on Mrs. Schuyler in Elizabeth F. Ellet’s The Women of the American Revolution (1848), one of the many anthologies of Revolutionary War feminine heroism popular during the period. It was based on the account of Mrs. Schuyler written in 1846 by Catherine Van Rensselaer Cochrane, Mrs. Schuyler’s youngest daughter. Surviving documents do not support this family tradition, however. Although General Schuyler pursued a scorched-earth policy and Mrs. Schuyler traveled twice to the estate to pack furnishings during July 1777, the British under John Burgoyne arrived at Saratoga (now called Schuylerville) on September 13 to find the large plantation virtually intact. The painting reflects the skillful history painting tradition of Düsseldorf in its clearly subordinated composition and use of antique sculptural models for two of the figures. Leutze’s freedom in adding genrelike secondary activity of his own invention is balanced by his efforts to obtain an accurate portrayal of Mrs. Schuyler by studying a portrait in the family’s possession (probably one now in the New-York Historical Society). Leutze’s reputation as an outstanding colorist is supported by the painting’s rich harmonies.

Մանրամասն տեղեկություններ տպագիր արտադրանքի մասին

This over 160 years old piece of art was made by the master Էմանուել Լոյցե in 1852. Ավելին, այս արվեստի գործը կարելի է դիտել թվային հավաքածուում Լոս Անջելեսի County Museum of Art. Հարգանքով՝ Լոս Անջելեսի շրջանի արվեստի թանգարան (www.lacma.org) (լիցենզիա՝ հանրային սեփականություն).Գեղարվեստի վարկ. Ավելին, թվային վերարտադրության հավասարեցում է լանդշաֆտ ձևաչափ՝ 1.2:1 հարաբերակցությամբ, այսինքն երկարությունը լայնությունից 20%-ով ավելի է.

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