Giovanni Battista Cima da Conegliano na Workshop, 1515 - Nwa agbọghọ na-amaghị nwoke na Nwatakịrị ya na ndị nsọ na ndị nyere onyinye - mbipụta nka mara mma.

Onyinye ngwaahịa nka

In 1515 the Italian painter Giovanni Battista Cima da Conegliano and Workshop created this classic art painting. The original was made with the size Nhazi: 103 x 125 x 16 cm (40 9/16 x 49 3/16 x 6 5/16 na); Emebereghị: 56 x 78,8 cm (22 1/16 x 31 na) ma were ihe osise ese Usoro oil on wood. What is more, the piece of art can be viewed in in the Ụlọ ihe ngosi nka nke Cleveland nchịkọta nka dijitalụ, nke bụ otu n'ime ụlọ ngosi ihe mgbe ochie na-eduga n'ụwa niile na-ewulite, na-echekwa, na-amụ ihe, ma na-ekesa nchịkọta nka ya pụtara ìhè site n'oge na akụkụ nke ụwa niile, na-ewepụta ohere mmụta na nghọta ọhụrụ, ebe ọ na-eje ozi dị ka ebe mmekọrịta mmadụ na ibe ya na ọgụgụ isi. obodo ya. Nke a nka ochie ngalaba ọha masterpiece na-nyere na n'ikike nke Velọ ihe ngosi nka nke Cleveland. Creditline of the artwork: Bequest of John L. Severance. The alignment is odida obodo ma nwee oke onyonyo nke 1.4: 1, nke pụtara na ogologo bụ 40% ogologo karịa obosara.

Họrọ nhọrọ ihe onwunwe gị

Ndepụta ndetu ngwaahịa na-enye gị ohere ịhọrọ ngwa na nha nke gị. Anyị na-ahapụ gị ka ịhọrọ nha na akụrụngwa ọkacha mmasị gị n'etiti nhọrọ nhazi ngwaahịa ndị a:

• Mpempe akwụkwọ mmado ebipụtara na akwa akwa: The poster is a UV printed cotton canvas with a granular finish on the surface, which resembles the original version of the masterpiece. It is particularly qualified for framing the art print using a customized frame. Please note, that depending on the absolute size of the poster print we add a white margin 2-6cm round about the artwork, which facilitates the framing with your custom frame.
• Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko): An print on acrylic glass, often described as a print on plexiglass, makes your selected original into brilliant home décor and makes a viable alternative option to aluminium and canvas prints.
• Mbipụta aluminom (aluminium dibbond): Aluminium Dibond prints are prints on metal with a true depth. A direct Direct Print on Aluminum Dibond is your ideal start to fine art reproductions with aluminum. The white and bright parts of the original work of art shimmer with a silky gloss, however without the glare. The colors of the print are luminous in the highest definition, details of the print appear crisp.
• Mbipụta kwaaji: The UV printed canvas material mounted on a wood frame. A canvas print generates a cosy and enjoyable appearance. A canvas print has the advantage of being relatively low in weight, which implies that it is quite simple to hang up your Canvas print without additional wall-mounts. Canvas prints are suited for any kind of wall.

Ozi dị mkpa: We try our utmost in order to depict our art products as closely as possible and to illustrate them visually in our shop. Please bear in mind that the tone of the printed materials and the printing may vary to a certain extent from the presentation on the device's monitor. Depending on your screen settings and the nature of the surface, colors might not be printed as realisitcally as the digital version depicted here. Bearing in mind that all our are processed and printed manually, there may also be minor deviations in the motif's exact position and the size.

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Ederede a bụ ikike ọgụgụ isi ma chekwaa ya site na nwebisiinka © | Artprinta.com

What does the website of the The Cleveland Museum of Art say about the 16th century artwork made by Giovanni Battista Cima da Conegliano and Workshop? (© Nwebiisinka - Ụlọ ihe ngosi nka nke Cleveland - Velọ ihe ngosi nka nke Cleveland)

This work reinterprets the most common subject in Renaissance art—the Madonna and Child. The tender relationship of mother and son spoke to Mary’s role as intercessor for humanity, sparked an empathetic relationship with Christ, and helped invest Christian practice with tenderness and compassion. Works at this scale were usually for private devotion, but distinct styles and refined craftsmanship were also appreciated for their artistry and creativity. Here the donors occupy the same landscape as the holy figures, emphasizing how Mary’s compassion extends into our world. This painting was never finished, visible in Saint Anthony Abbot’s beard and the female saint’s empty hand, which makes her identity impossible to pin down.