Robert Campin, 1427 - Annunciation Triptych (Merode Altarpiece) - mbipụta nka mara mma.
Ụtụ gụnyere. Mbupu gbakọrọ na ndenye ọpụpụ.
Additional information on the original artwork from the museum (© - The Metropolitan Museum of Art - Museumlọ ihe ngosi nka nke Obodo)
Having just entered the room, the angel Gabriel is about to tell the Virgin Mary that she will be the mother of Jesus. The golden rays pouring in through the left oculus carry a miniature figure with a cross. On the right wing, Joseph, who is betrothed to the Virgin, works in his carpenter’s shop, drilling holes in a board. The mousetraps on the bench and in the shop window opening onto the street are thought to allude to references in the writings of Saint Augustine identifying the cross as the devil’s mousetrap. On the left wing, the kneeling donor appears to witness the central scene through the open door. His wife kneels behind him, and a town messenger stands at the garden gate. The owners would have purchased the triptych to use in private prayer. An image of Christ’s conception in an interior not unlike the one in which they lived also may have reinforced their hope for their own children. One of the most celebrated early Netherlandish paintings—particularly for its detailed observation, rich imagery, and superb condition—this triptych belongs to a group of paintings associated with the Tournai workshop of Robert Campin (ca. 1375–1444), sometimes called the Master of Flémalle. Documents indicate that he hired at least two assistants, the young Rogier van der Weyden (ca. 1400–1464) and Jacques Daret (ca. 1404–1468). Stylistic and technical evidence suggests that the altarpiece was executed in phases. The Annunciation, which follows a slightly earlier workshop composition, probably was not commissioned. Shortly thereafter, the male donor ordered the wings, which appear to have been painted by two artists. At a later point, in the 1430s, presumably following the donor’s marriage, the portraits of his wife and of the messenger were added. The windows of the central panel, originally covered with gold leaf, were painted with a blue sky, and the armorial shields were added afterward.
Ozi gbasara akụkọ
Annunciation Triptych (Merode Altarpiece) is a piece of art created by the northern renaissance artist Robert Campin. The 590 year old masterpiece was painted with the size: Overall (open): 25 3/8 x 46 3/8 in (64,5 x 117,8 cm) Central panel: 25 1/4 x 24 7/8 in (64,1 x 63,2 cm) each wing: 25 3/8 x 10 3/4 in (64,5 x 27,3 cm) and was painted with the medium mmanụ na osisi oak. Artpiece dị n'ime Ụlọ ihe ngosi nka nke Metropolitan digital collection, 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.. With courtesy of - The Metropolitan Museum of Art, New York, The Cloisters Collection, 1956 (ikike ngalaba ọha). : Nchịkọta Cloisters, 1956. E wezụga nke ahụ, nhazi nke mmepụta dijitalụ bụ odida obodo na akụkụ ruru nke 2: 1, meaning that the length is two times longer than the width. Robert Campin was a male painter, draftsman, whose artistic style can mainly be classified as Northern Renaissance. The Dutch artist was born in 1375 and passed away at the age of 69 in 1444.
Nweta nhọrọ ihe ebipụta nka masịrị gị
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Ozi ndabere izugbe gbasara onye na-ese ihe
aha: | Robert Campin |
Aha ndi ozo: | Campin Robert, Master of Mérode, Campin, Robert Campin |
Gender: | nwoke |
Obodo onye nka: | Dutch |
Ọrụ onye na-ese ihe: | onye na-ese ihe, onye na-ese ihe |
Country: | mba netherland |
Nkewa onye nka: | nna ukwu ochie |
styles: | Northern Renaissance |
Afọ ọnwụ: | 69 afọ |
Afọ ọmụmụ: | 1375 |
Nwuru: | 1444 |
Nwuru na (ebe): | Tournai, Province de Hainaut, Wallonia, Belgium |
Nkọwa ọrụ nka
Aha eserese: | "Annunciation Triptych (Merode Altarpiece)" |
nhazi ọkwa: | sere |
Okwu nche anwụ: | nka ochie |
Time: | 15th narị afọ |
Afọ nka: | 1427 |
Afọ nka: | 590 afọ |
Usoro izizi: | mmanụ na osisi oak |
Akụkụ izizi: | Overall (open): 25 3/8 x 46 3/8 in (64,5 x 117,8 cm) Central panel: 25 1/4 x 24 7/8 in (64,1 x 63,2 cm) each wing: 25 3/8 x 10 3/4 in (64,5 x 27,3 cm) |
Ụlọ ihe ngosi nka / mkpokọta: | Museumlọ ihe ngosi nka nke Obodo |
Ebe ngosi nka: | New York City, New York, Njikota Obodo Amerika |
Weebụsaịtị nke ihe ngosi nka: | www.metmuseum.org |
Licensedị ikike: | ngalaba ọha |
Site n'aka: | Ụlọ ihe ngosi nka nke Metropolitan, New York, mkpokọta Cloisters, 1956 |
kreditline ọrụ nka: | Nchịkọta Cloisters, 1956 |
Nkọwa ngwaahịa ahaziri ahazi
Nkewa ngwaahịa: | nka nka |
Usoro mmeputakwa: | dijitalụ mmeputakwa |
Produzọ mmepụta: | mbipụta dijitalụ |
Mmalite ngwaahịa: | Germany |
Stockdị ngwaahịa: | na mmepụta ihe |
Ngwaahịa were: | ime ụlọ, foto mgbidi |
Ndepụta: | usoro odida obodo |
Oke akụkụ onyonyo: | (ogologo: obosara) 2: 1 |
Ntụgharị nkọwa akụkụ onyonyo: | ogologo ahụ dị okpukpu abụọ karịa obosara |
Materials: | Mpempe iko acrylic (nke nwere ezigbo mkpuchi iko), mbipụta ọla (aluminium dibond), mbipụta akwụkwọ mmado (akwụkwọ kwaaji), mbipụta kwaaji. |
Nha n'arọwa n'elu ihe ndọtị (mbipụta akwa akwa): | 40x20cm - 16x8", 60x30cm - 24x12", 80x40cm - 31x16", 100x50cm - 39x20", 120x60cm - 47x24" |
Mpempe iko acrylic (nwere ezigbo mkpuchi iko) nha: | 40x20cm - 16x8", 60x30cm - 24x12", 80x40cm - 31x16", 100x50cm - 39x20", 120x60cm - 47x24" |
Mbipụta akwụkwọ mmado (akwụkwọ kwaaji): | 60x30cm - 24x12", 80x40cm - 31x16", 100x50cm - 39x20", 120x60cm - 47x24" |
Mbipụta aluminom (ihe alumini debond ihe): | 40x20cm - 16x8", 60x30cm - 24x12", 80x40cm - 31x16", 100x50cm - 39x20", 120x60cm - 47x24" |
Nhazi nke nka nka: | oyiri nka na-enweghị isi |
Ihe dị mkpa: We try our utmost in order to describe the art products as closely as possible and to showcase them visually in our shop. Nonetheless, the tone of the printing material and the imprint can diverge to a certain extent from the representation on your monitor. Depending on your screen settings and the quality of the surface, colors can unfortunately not be printed 100% realistically. Considering that all fine art prints are printed and processed manually, there might also be minor variations in the motif's size and exact position.
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