Eugène Delacroix, 1843 - Mmụọ na Terrace - mbipụta nka mara mma
Ụtụ gụnyere. Mbupu gbakọrọ na ndenye ọpụpụ.
Nkọwa ngwaahịa nka
In 1843 na nwoke French artist Eugene Delacroix kee ihe 19th narị afọ eserese aha ya The Ghost on the Terrace. Ihe gafere 170 year-old original version measures the size: Image: 10 3/16 x 7 1/2 in (25,8 x 19,1 cm) Sheet: 11 7/16 x 8 7/16 in (29 x 21,5 cm). Lithograph, first state of five was applied by the European painter as the medium of the artwork. Moveover, this artwork is part of the digital art collection of The Metropolitan Museum of Art. With courtesy of: Ụlọ ihe ngosi nka nke Metropolitan, New York, Rogers Fund, 1922 (licensed: public domain). : Rogers Fund, 1922. Furthermore, alignment is Eserese na nwere akụkụ ruru nke 3: 4, nke pụtara na ogologo bụ 25% mkpụmkpụ karịa obosara. Eugène Delacroix was a painter, whose artistic style can be attributed mainly to Romanticism. The French painter was born in the year 1798 na Saint-Maurice, Val-de-Marne na nwụrụ anwụ na afọ nke 65 n'afọ 1863.
Họrọ ụdị mbipụta nka gị dị iche iche
Maka ngwaahịa ọ bụla anyị na-enye ihe dị iche iche & nha. Anyị na-ahapụ gị ka ịhọrọ n'ime ụdị ndị a:
- Mbipụta iko acrylic na-egbuke egbuke (nke nwere ezigbo mkpuchi iko n'elu): The acrylic glass print, which is sometimes labelled as a UV print on plexiglass, makes the original into décor. Your own replica of the work of art will be printed with the help of state-of-the-art UV printing technology.
- Mbipụta akwụkwọ mmado (akwa akwa akwa): The poster print is a UV printed canvas paper with a nice surface texture. It is optimally used for placing your fine art print with a customized frame. Please keep in mind, that depending on the size of the canvas poster print we add a white margin of something between 2-6cm round about the painting to facilitate the framing.
- Kwaaji: The UV printed canvas material mounted on a wooden stretcher frame. Additionally, a canvas print generates a charming and positive look. The advantage of canvas prints is that they are relatively low in weight, which implies that it is easy to hang the Canvas print without any wall-mounts. Because of thatcanvas prints are suited for any type of wall.
- Aluminom ihe eji eme ihe: Aluminium Dibond prints are metal prints with an outstanding depth - for a modern impression and a non-reflective surface. A direct Direct Print on Aluminum Dibond is the best introduction to the sophisticated world of fine art reproductions with aluminum. The white and bright parts of the artwork shine with a silk gloss but without the glare. This print on Aluminum Dibond is the most popular entry-level product and is an extremely stylish way to showcase fine art reproductions, because it puts 100% of the viewer’s focus on the artwork.
Disclaimer: We try whatever we can to depict our products as accurate as possible and to showcase them visually in our shop. Nevertheless, the colors of the print products and the imprint may vary slightly from the presentation on your device's monitor. Depending on your screen settings and the condition of the surface, colors can unfortunately not be printed one hundret percent realistically. Given that all the art reproductions are printed and processed by hand, there may as well be minor discrepancies in the motif's exact position and the size.
Banyere ihe
Ụdị edemede: | nka nka |
Mmeputakwa: | dijitalụ mmeputakwa |
Usoro mmepụta: | Mbipụta UV / dijitalụ |
Ihe ngosi: | emepụtara na Germany |
Stockdị ngwaahịa: | na mmepụta ihe |
A na-atụ aro iji ngwaahịa eme ihe: | ịchọ mma mgbidi, ihe ndozi mgbidi |
Nhazi nka nka: | nhazi ihe osise |
Oke akụkụ: | 3: 4 ogologo ruo obosara |
Nkọwa nha onyonyo: | ogologo bụ 25% mkpụmkpụ karịa obosara |
Nhọrọ akwa: | Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko), mbipụta akwa akwa, mbipụta akwụkwọ mmado (akwụkwọ kwaaji), mbipụta ọla (aluminium dibbond) |
Nhọrọ nke Canvas Mbipụta (akwa akwa na etiti ihe ndọtị): | 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47", 120x160cm - 47x63" |
Acrylic glass print (nwere ezigbo mkpuchi iko) nhọrọ: | 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" |
Mbipụta akwụkwọ mmado (akwụkwọ kwaaji): | 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" |
Nha aluminom dibond (ihe aluminom) nha: | 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" |
Igwe onyonyo: | adịghị |
Data nka ahaziri
Aha ọrụ nka: | "The Ghost on the Terrace" |
Nhazi nka: | sere |
Okwu mkpokọta: | nkà nke oge a |
oge: | 19th narị afọ |
Afọ nka: | 1843 |
Ogologo afọ nka nka: | karịa afọ 170 |
Usoro izizi: | lithograph, first state of five |
Akụkụ nke ihe osise izizi: | Foto: 10 3/16 x 7 1/2 na (25,8 x 19,1 cm) Mpempe akwụkwọ: 11 7/16 x 8 7/16 na (29 x 21,5 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: | Museumlọ ihe ngosi nka nke Obodo |
Licensedị ikike: | ngalaba ọha |
Site n'aka: | Ụlọ ihe ngosi nka nke Metropolitan, New York, Rogers Fund, 1922 |
kreditline ọrụ nka: | Rogers Fund, 1922 |
Tebụl nchịkọta ihe nkiri
Aha onye nka: | Eugene Delacroix |
okike onye nka: | nwoke |
Obodo onye nka: | French |
Ọrụ: | onye na-ese ihe |
Obodo obibi: | France |
Nkewa onye nka: | omenkà nke oge a |
Ụdị nke onye na-ese ihe: | Ihunanya |
Nwụrụ anwụ: | 65 afọ |
Afọ ọmụmụ: | 1798 |
Amụrụ na (ebe): | Saint-Maurice, Val-de-Marne |
Nwuru: | 1863 |
Obodo ọnwụ: | Paris |
Edobere ederede a site na nwebisiinka © , www.artprinta.com (Artprinta)
Nkọwa ndị ọzọ site na ihe ngosi nka (© - nke Ụlọ ihe ngosi nka nke Obodo ukwu - www.metmuseum.org)
In 1834 Delacroix began a series of lithographs devoted to Hamlet, creating moody images that mirror the troubled psyche of the prince. Choosing key scenes and poetic passages, the artist's highly personal and dramatic images were unusual in France, where interest in Shakespeare developed only in the nineteenth century. Here, in act 1, scene 5, the prince has followed his father's spirit to learn that he is: ""Doom'd for a certain term to walk the night, / And for the day confined to fast in fires,/ Till the foul crimes done in my days of nature/ Are burnt and purged away." When the ghost reveals that he was murdered by Hamlet's uncle and demands revenge, his son responds with hesitancy with shocked surprise. Gihaut frères published the artist's thirteen-print set in 1843, with a second expanded edition of sixteen issued by Bertauts in 1864. Cooly received at first, the prints eventually were recognized as one of the artist's most significant achievements.