Jacopo Tintoretto, 1577 - Doge Alvise Mocenigo (1507–1577) Enyere onye mgbapụta - mbipụta nka mara mma.

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Doge Alvise Mocenigo (1507–1577) Presented to the Redeemer was created by Jacopo Tintoretto. The original version of the work of art measures the following size: 38 1/4 x 78 inch (97,2 x 198,1 cm). Oil on canvas was used by the Italian painter as the technique for the artwork. Today, this artpiece can be viewed in in the digital art collection of The Metropolitan Museum of Art, which is one of the world's largest and finest art museums, which includes more than two million works of art spanning five thousand years of world culture, from prehistory to the present and from every part of the globe.. We are happy to state that this masterpiece, which is part of the ngalaba ọha a na-enye ya site n'ikike nke Ụlọ ihe ngosi nka nke Metropolitan, New York, John Stewart Kennedy Fund, 1910. Creditline of the artwork: John Stewart Kennedy Fund, 1910. The alignment is landscape with a ratio of 2: 1, nke pụtara na ogologo ahụ dị okpukpu abụọ karịa obosara. The painter Jacopo Tintoretto was a European artist from Italy, whose art style can be classified as Mannerism. The Italian painter lived for a total of 76 afọ - born in 1518 in Venice, Venezia province, Veneto, Italy and deceased in the year 1594.

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Maka mbipụta nka ọ bụla anyị na-enye ụdị nha na ihe dị iche iche. Anyị na-ahapụ gị ka ịhọrọ nha na akụrụngwa ọkacha mmasị gị n'etiti nhọrọ nhazi ngwaahịa ndị a:

• Mpempe akwụkwọ ederede (akwa akwa akwa): The poster print is a printed canvas paper with a slightly rough surface texture. It is excellently appropriate for placing your fine art print with a personal frame. Please note, that depending on the size of the canvas poster print we add a white margin of around 2 - 6cm round about the artwork, which facilitates the framing with your custom frame.
• Aluminom ihe eji eme ihe: These are metal prints on aluminium dibond with an impressive depth effect. For your Direct Print On Aluminum Dibond, we print the chosen work of art right onto the surface of the aluminum composite. The colors of the print are luminous in the highest definition, the details of the print appear crisp, and there’s a matte look you can literally feel.
• Bipụta na iko acrylic na-egbuke egbuke: A glossy acrylic glass print, which is often denoted as a an art print on plexiglass, will change your favorite artwork into brilliant wall décor and makes a viable alternative option to dibond or canvas prints. The artwork will be custom-made thanks to the help of state-of-the-art UV direct print technology. With an acrylic glass fine art print contrasts and smaller color details become recognizeable because of the very subtle gradation. The acrylic glass protects your chosen art replica against light and external influences for many years to come.
• Mbipụta kwaaji: A printed canvas, not to be confused with a painting on a canvas, is a digital image printed on a UV direct printer. Canvas Prints have the advantage of being low in weight, meaning that it is easy and straightforward to hang up your Canvas print without extra wall-mounts. That is why, a canvas print is suitable for any kind of wall.

Disclaimer: We try what we can to describe our art products in as much detail as possible and to demonstrate them visually on the respective product detail pages. At the same time, the tone of the print products and the print result may differ somehwat from the image on your monitor. Depending on the settings of your screen and the condition of the surface, color pigments can unfortunately not be printed as realistically as the digital version shown here. In view of the fact that the fine art prints are printed and processed by hand, there may also be minor differences in the motif's size and exact position.

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Artwork specifications by The Metropolitan Museum of Art (© - The Metropolitan Museum of Art - Museumlọ ihe ngosi nka nke Obodo)

This unfinished sketch records one stage of Tintoretto’s preparation of a large votive painting of Doge Alvise Mocenigo destined for a room (the Sala del Collegio) in the Doge’s Palace in Venice. Mocenigo ruled at the time of Venice’s great victory at sea over the Turks, the Battle at Lepanto of 1571, represented in the sketch by the ships in the background, and during the ferocious plague of 1576 (which killed the painter Titian), after which he pledged to build the great church of the Redentore designed by Palladio. In the sketch the artist mapped out the principal figures, including rudimentary ideas for the figure of Saint Mark to the left of the kneeling Doge, and painted the silhouette of the saint’s lion on a dark ground in the lower left. The beautiful figure of Christ at the left was completely rethought in the final composition. For more information about this important commission, visit metmuseum.org.