Nicolas Régnier, 162 - Onye na-ehi ụra nke otu nwa agbọghọ na-eto eto ji ọkụ kpọtere - mbipụta nka mara mma.

39,99 €

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Artwork information from Nationalmuseum Stockholm (© Copyright - Nationalmuseum Stockholm - National Museum nke Stockholm)

English: A scene of comic ribaldry unfolds like a tableau vivant, with figures of great bodily and affective presence, painted from life and posed in the darkened space of the artist’s studio. A mischievous young prostitute prepares to play a prank on a soldier of fortune who, after a night of excess at a Roman tavern, has dozed off during a game of cards. The figures are momentarily caught in a bright shaft of light, the play of shadows heightening the sense of drama. A dumb show of gestures and glances, mirroring the exuberance of the comic actor’s repertoire, tells the story. The sleeper is about to learn a lesson – he will be burnt by the lit roll of tobacco wrapper held under his nose, an act fraught with eroticism. With a demonstrative gesture enjoining silence, the prankster invites the viewer’s complicity in mocking the folly of her unsuspecting victim. Contemporary viewers would have recognised the characters as stock figures of popular theatre and picaresque novels. Swaggering embodiments of excess, notorious for their foolishness, mercenaries were often portrayed in prodigal circumstances. Explicit action and characters exaggerated to the point of caricature were deemed appropriate for low-life subjects in a comic moralising mode. Delighted by feats of illusion such as the torn playing card, or the molten wax on the candlestick, our eye is seduced by Régnier’s artifice in bringing the scene seemingly to life. Description as new acquisition, November 2011: Sleeper Awakened by a Young Woman with a Lit Wick, by Nicolas Régnier Nicolas Régnier was a Flemish painter who lived 1591-1667. During his time as an artist, he was active mainly in Rome and Venice in Italy. Therefore his art has come to be regarded as Italian rather than Flemish. While in Italy, Régnier encountered the artistic tradition started by the great Caravaggio. Works from this tradition typically depict emotional manoeuvring, reinforced by powerful light effects and deep colours. This work, Sleeper Awakened by a Young Woman with a Lit Wick, was painted during Régnier’s Roman period. It is part of a suite of three works on the same theme. The painting is considered one of Régnier’s finest works, full of exquisite details such as the torn cards, the wax has flowed along the candlestick and shade from the young man's eyelashes. The young woman depicted in the painting invites the viewer to take part in the joke being played on the sleeping man Régnier’s painting was given to Nationalmuseum by the association Friends of Museum. The association celebrated its 100th anniversary in 2011. To mark this, an appeal was launched to raise money for a significant centenary gift. The gift was handed over to Nationalmuseum at the celebration’s Grand Finale Night in late November 2011. The painting will complement and enrich the museum’s collection of Italian 17th century art. En komedi spelas upp för betraktaren som vore det en tableau vivant. Avbildade efter levande modeller som poserat i skumrasket i konstnärens ateljé, utstrålar figurerna en stark kroppslig och känslomässig närvaro. En legoknekt har slumrat till under kortspel, efter en natt av utsvävningar i ett romerskt värdshus, och en skälmsk ung prostituerad gör sig redo att spela honom ett spratt. Ett häftigt ljussken lyser upp de båda gestalterna och ger upphov till ett skuggspel som förstärker dramatiken. Historien berättas genom en pantomim som återspeglar komediantens rika repertoar. Mannen skall strax få sig en läxa – han kommer att bränna sig på den tända rullen av tobakspapper som kvinnan för upp under hans näsa, en handling med stark erotisk laddning. Med en tydlig gest som uppmanar till tystnad, bjuder oss upptågsmakaren att göra narr av den intet ont anande ynglingen. Rollfigurerna från den folkliga teatern och de populära pikareskromanerna var välbekanta för samtida betraktare. Som sinnebilder för omåttlighet och dåraktighet framställdes legoknektar ofta i liknande dubiösa situationer. Grovt karikerade figurer och en rättfram handling ansågs passande för sådana genrescener där de lägre samhällsskikten framställs i humoristiska situationer med moraliserande underton. Vi häpnar över målningens bedrägligt verklighetstrogna yta med dess illusionistiskt återgivna detaljer såsom det sönderrivna spelkortet och ljusstakens rester av nedbrunnet vaxljus. Månadens nyförvärv, November 2011 Sovande yngling som väcks av ung kvinna med eld, av Nicolas Régnier Nicolas Régnier var en flamländsk konstnär som levde cirka 1591–1667. Under sin tid som konstnär var han främst verksam i Rom och Venedig i Italien. Hans konst har därför snarare kommit att betraktas som italiensk än som flamländsk. I Italien kom Régnier i kontakt med traditionen efter den store konstnären Caravaggio. Detta måleri kännetecknas av känsloutspel som förstärks av kraftfulla ljuseffekter och djupa färger. Målningen Sovande yngling som väcks av ung kvinna med eld är målad under Régniers romerska period. Den är en del i en svit om tre verk med samma tema. Målningen räknas som ett av Régniers främsta verk, fyllt av utsökta detaljer såsom de sönderrivna korten, vaxet som runnit längs ljusstaken och skuggan från den unge mannens ögonfransar. Den unga kvinnan som är avbildad i målningen bjuder in betraktaren att ta del i skämtet som den sovande mannen utsätts för. Régniers målning är en gåva till Nationalmuseum från föreningen Nationalmusei Vänner. I samband med att föreningen inledde sitt 100-årsfirande under 2011 startades en jubileumsinsamling. Gåvan överlämnades till Nationalmuseum under firandets finalkväll i slutet av november 2011.

Nkọwa gbasara ọrụ nka mbụ

Aha nka: "Sleeper Awakened by a Young Woman with Fire"
Nhazi nka: sere
Emepụtara n'afọ: 162
Afọ nka: 1850 afọ
Akụkụ nke ọrụ nka mbụ: Ogologo: 101 cm (39,7 ″); Obosara: 133 cm (52,3 ″) Ekebere: Elu: 127,5 cm (50,1 ″); Obosara: 163 cm (64,1 ″); Omimi: 8 cm (3,1 ″)
Ụlọ ihe ngosi nka: National Museum nke Stockholm
Ebe ngosi nka: Stockholm, Obodo Stockholm, Sweden
Weebụsaịtị nke ihe ngosi nka: National Museum nke Stockholm
Ikikere nke ihe osise: ngalaba ọha
Site n'aka: Nationalmuseum Stockholm na Wikimedia Commons

Nchịkọta ihe nkiri

Aha onye nka: Nicolas Régnier
Ọrụ: onye na-ese ihe
Ụdị nke onye na-ese ihe: Baroque
Ndụ: 76 afọ
Afọ amụrụ: 1591
Obodo amụrụ: Maubeuge
Nwuru: 1667
Obodo ọnwụ: Venice

Tebụl edemede

Ụdị edemede: ọmarịcha nka
Mmeputakwa: mmeputakwa n'ụdị dijitalụ
Usoro nhazi: Mbipụta UV ozugbo
Production: emere na Germany
Ụdị ngwaahịa: a na-achọ
Ojiji ngwaahịa: ịchọ mma mgbidi, foto mgbidi
Nhazi onyonyo: nhazi odida obodo
Oke akụkụ: 4:3- ogologo: obosara
Oke onyonyo pụtara: ogologo bụ 33% ogologo karịa obosara
Akwa ngwaahịa dị: Mpempe akwụkwọ, akwụkwọ mmado (akwụkwọ kwaaji), mbipụta ọla (aluminium dibond), mbipụta iko acrylic (nwere ezigbo mkpuchi iko)
Kanvas n'elu etiti ihe ndọtị (mbipụta akwa akwa): 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35", 160x120cm - 63x47"
Mpempe iko acrylic (nwere ezigbo mkpuchi iko) nha dị iche iche: 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
Mpempe akwụkwọ mmado (akwụkwọ kwaaji) nha dị iche iche: 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
Ụdị mbipụta aluminom: 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
ụba: adịghị

Nhọrọ ihe enwere ike

Maka mbipụta nka ọ bụla mara mma anyị na-enye ụdị nha na ihe dị iche iche. Ị nwere ike ịhọrọ nha na ihe kachasị amasị gị n'ime nhọrọ ndị a:

  • Ihe odide acrylic glass: The print on acrylic glass, which is sometimes denoted as a UV print on plexiglass, will turn the original into marvellous home décor and makes a great alternative to canvas and aluminidum dibond prints. The work of art is manufactured with the help of modern UV print technology. This makes rich and sharp print colors. The great advantage of a plexiglass print is that sharp contrasts plus granular painting details become more identifiable because of the very fine gradation in the picture. The real glass coating protects your chosen art print against light and heat for many decades.
  • Aluminom dibond (ọkpụkpụ ọla): Aluminium Dibond prints are prints on metal with an outstanding depth effect. For your Print On Aluminum Dibond, we print your selected work of art right on the surface of the aluminum composite. The white & bright parts of the work of art shimmer with a silk gloss but without the glare. Colors are luminous, the fine details appear very clear, and the print has a a matte look that you can literally feel.
  • Mbipụta kwaaji: The canvas print is a printed cotton canvas mounted on a wood frame. Canvas Prints have the advantage of being relatively low in weight, which implies that it is easy and straightforward to hang your Canvas print without the help of extra wall-mounts. That is why, canvas prints are suitable for all types of walls.
  • Akwụkwọ mmado na ihe kwaaji: The poster print is a UV printed sheet of canvas with a nice surface structure. It is used for placing your fine art print with the help of a custom-made frame. Please keep in mind, that depending on the size of the poster we add a white margin of something between 2-6cm around the work of art to facilitate the framing with a custom frame.

Onyinye ngwaahịa ebipụta

Nke a masterpiece Sleeper Awakened by a Young Woman with Fire was created by Nicolas Régnier. The work of art measures the size: Ogologo: 101 cm (39,7 ″); Obosara: 133 cm (52,3 ″) Ekebere: Elu: 127,5 cm (50,1 ″); Obosara: 163 cm (64,1 ″); Omimi: 8 cm (3,1 ″). It forms part of the Nationalmuseum Stockholm's collection. With courtesy of Nationalmuseum Stockholm na Wikimedia Commons (ikike ngalaba ọha).: . Kedu ihe ọzọ, nhazi nke mmepụta dijitalụ dị n'ime odida obodo format ma nwee oke onyonyo nke 4: 3, nke pụtara na ogologo bụ 33% ogologo karịa obosara. The painter Nicolas Régnier was an artist, whose artistic style was mainly Baroque. The painter was born in 1591 in Maubeuge and died at the age of 76 in 1667 in Venice.

Nkwupụta iwu: We try everything in order to depict our products as closely as we can and to demonstrate them visually in our shop. Although, the pigments of the printed materials and the imprint may differ to a certain extent from the presentation on your screen. Depending on your settings of your screen and the quality of the surface, not all colors will be printed as exactly as the digital version. Bearing in mind that all the fine art prints are processed and printed manually, there might also be slight differences in the exact position and the size of the motif.

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