Friedrich Nerly, 1844 - Buffaloes na-adọkpụrụ ngọngọ nke marble - mbipụta nka mara mma.

Ozi izizi gbasara nka sitere na webụsaịtị ihe ngosi nka (© - nke Thorvaldsens Museum dere - www.thorvaldsensmuseum.dk)

The following inscription has been hewn into the block: “XXIII Thorwaldsen Roma”. With this Roman numeral, Nerly has possibly intended to refer to the year, 1823, when Thorvaldsen was given the greatest commission of his life, the sepulchral monument to Pius VII. So it is tempting to imagine that the block of marble was intended for this work. The picture marks a stage in the marble’s long, difficult journey from the quarry to St Peter’s – from natural shape to artistic form. Nerly was born at Erfurt and lived in Rome from 1828. The first version of the motif from 1831 – the year in which the papal monument was unveiled – led to something of a breakthrough for Nerly, and he later produced several replicas. Thorvaldsen’s version is a slightly smaller replica. Nerly set out to return to his native Germany in 1835. However, he laid his route through Venice and became so fascinated by the city that he remained there for the rest of his life.

Ngwaahịa a

"Buffaloes dragging a block of marble" is a work of art by the male German artist Friedrich Nerly. The original of the artwork had the following size - 74,5 x 99,4 cm. Mmanụ na kwaaji was applied by the European artist as the medium of the masterpiece. This piece of art is in the the collection of Ụlọ ihe ngosi nka Thorvaldsens. Site n'ikike nke: Friedrich Nerly, Buffaloes dragging a block of marble, 1844, Thorvaldsens Museum, www.thorvaldsensmuseum.dk (ikike ngalaba ọha).: . Besides this, the alignment is landscape with a side ratio of 4: 3, which implies that the length is 33% longer than the width. Friedrich Nerly was a painter, whose artistic style can mainly be classified as Romanticism. The Romanticist artist lived for a total of 71 afọ, mụrụ na 1807 ma nwụọ n'afọ 1878.

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• Bipụta akwụkwọ mmado n'ihe kwaaji: The poster is a printed canvas with a slightly rough texture on the surface. It is optimally suited for framing the fine art print with the help of a custom-made frame. Please keep in mind, that depending on the absolute size of the poster we add a white margin between 2-6cm around the artwork to facilitate the framing with your custom frame.
• Mbipụta nke aluminom: An Aluminium Dibond print is a material with an outstanding effect of depth. A direct Aluminium Dibond Print is the perfect introduction to art prints manufactured with aluminum. For your Direct Print On Aluminum Dibond, we print your favorite artpiece right on the surface of the aluminum. The bright parts of the original work of art shimmer with a silk gloss, however without any glow.
• Mbipụta kwaaji: The printed canvas, not to be mistaken with a painting on a canvas, is a digital copy printed onto canvas material. The advantage of canvas prints is that they are relatively low in weight, which implies that it is easy to hang up the Canvas print without additional wall-mounts. Therefore, canvas prints are suited for all kinds of walls.
• Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko): The print on acrylic glass, which is often denoted as a an art print on plexiglass, will convert your favorite artwork into stunning home decoration. Your favorite work of art is manufactured with modern UV print technology. With a glossy acrylic glass fine art print contrasts and minor painting details become visible thanks to the very fine gradation.

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Ozi dị mkpa: We try to depict our art products as precisely as possible and to showcase them visually. Nevertheless, the tone of the printing material and the printing can vary marginally from the presentation on the device's monitor. Depending on your settings of your screen and the quality of the surface, not all color pigments will be printed 100% realistically. Bearing in mind that all the art reproductions are processed and printed manually, there might as well be minor differences in the size and exact position of the motif.

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