Anton Romako, 1856 - ịnyịnya ibu isi ike - ọmarịcha nka

39,99 €

Ụtụ gụnyere. Mbupu gbakọrọ na ndenye ọpụpụ.

The nkà nke oge a nka nka The stubborn donkey was made by the historicist artist Anton Romako. The original version measures the size 26 x 34 cm - frame dimensions: 33 x 47 x 6 cm. Mmanụ na kwaaji was applied by the European artist as the technique for the piece of art. Today, the artpiece forms part of the digital art collection of Belvedere in Vienna, Austria. This public domain masterpiece is included, courtesy of © Belvedere, Vienna, nọmba ngwa ahịa: 1959. : dedication Hermione Eissler, Vienna in 1918. Kedu ihe ọzọ, nhazi nke mmepụta dijitalụ bụ odida obodo ma nwee oke nke 4: 3, which means that the length is 33% longer than the width. The painter Anton Romako was an artist from Austria, whose artistic style can primarily be classified as Historicism. The artist was born in the year 1832 in Vienna, Vienna state, Austria and died at the age of 57 in 1889.

Họrọ ihe kacha amasị gị

Anyị na-enye ihe dị iche iche dị iche iche na nha maka ngwaahịa ọ bụla. Họrọ n'ime nhọrọ ngwaahịa ndị a ugbu a ka ị kwekọọ na mmasị gị na nha na akụrụngwa:

  • Kwaaji: A UV printed canvas material mounted on a wood frame. The advantage of canvas prints is that they are relatively low in weight, which means that it is easy and straightforward to hang up your Canvas print without extra wall-mounts. A canvas print is suited for any kind of wall.
  • Poster (akwa akwa akwa): The poster is a printed sheet of canvas with a nice texture on the surface. It is particularly suited for placing your art replica with the help of a custom-made frame. Please bear in mind, that depending on the absolute size of the canvas poster print we add a white margin 2-6cm around the print motif to facilitate the framing with a custom frame.
  • Metal (aluminium debond mbipụta): Aluminium Dibond prints are prints on metal with a true depth effect. The Aluminium Dibond Print is the perfect start to replicas with aluminum. The white & bright sections of the original artpiece shine with a silk gloss but without any glare.
  • Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko n'elu): A glossy print on acrylic glass, which is often labelled as a an art print on plexiglass, will turn your favorite original into décor. Beyond that, it is a viable alternative to aluminium and canvas art prints. With an acrylic glass fine art print contrasts and details become recognizeable thanks to the very fine tonal gradation of the print.

Important legal note: We try what we can in order to describe the art products as exact as possible and to exhibit them visually on the product detail pages. At the same time, the pigments of the printing material and the printing might differ slightly from the presentation on your screen. Depending on the screen settings and the quality of the surface, not all colors are printed 100% realistically. Because the fine art prints are processed and printed by hand, there may also be minor discrepancies in the exact position and the size of the motif.

Nkọwa ngwaahịa ahaziri ahazi

Nkewa edemede: ọrụ mgbidi
Mmeputakwa: dijitalụ mmeputakwa
Usoro mmepụta: mbipụta dijitalụ
Mmalite ngwaahịa: arụpụtara na Germany
Stockdị ngwaahịa: a na-achọ
Eji ngwaahịa emebere: nka mgbidi, ime ụlọ
Nhazi onyonyo: usoro odida obodo
Oke akụkụ onyonyo: 4: 3 ogologo ruo obosara
Mmetụta akụkụ: ogologo bụ 33% ogologo karịa obosara
Ngwa ngwaahịa dị: Mbipụta kwaaji, mbipụta ọla (aluminium dibond), mbipụta enyo acrylic (nwere ezigbo mkpuchi iko), mbipụta akwụkwọ mmado (akwụkwọ kwaaji)
Nhọrọ nha nke akwa akwa n'elu etiti ihe na-agbatị (mbipụta kwaaji): 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35", 160x120cm - 63x47"
Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko): 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
Ụdị akwụkwọ mmado (akwụkwọ kwaaji) dị iche iche: 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
Nha ebipụta aluminium dibond: 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
ụba: na-enweghị etiti

Tebụl a haziri ahazi nke ọrụ nka

Aha nka nka: "The stubborn donkey"
Nhazi nka: sere
Okwu nche anwụ: nkà nke oge a
Nhazi oge: 19th narị afọ
Emepụtara n'afọ: 1856
Afọ nka: ihe karịrị 160 afọ
Ọkara nke ihe osise izizi: mmanụ na kwaaji
Ogo nke ọrụ nka izizi: 26 x 34 cm - akụkụ etiti: 33 x 47 x 6 cm
Ụlọ ihe ngosi nka / mkpokọta: Belvedere
Ebe ngosi nka: Vienna, Austria
Webụsaịtị ihe ngosi nka: www.belvedere.at
License: ngalaba ọha
Site n'aka: © Belvedere, Vienna, nọmba ngwa ahịa: 1959
Ebe kredit nke ọrụ nka: dedication Hermione Eissler, Vienna in 1918

Nchịkọta nkenke nke onye na-ese ihe

Aha onye nka: Anton Romako
A makwaara dịka: romako a., a. romako, romako anton, Romako, Romako Anton, Anton Romako
okike nke onye nka: nwoke
Obodo onye nka: Ọstrịa
Ọrụ nke onye na-ese ihe: onye na-ese ihe
Obodo onye nka: Austria
Otu nka: omenkà nke oge a
Ụdị nka: Akụkọ ihe mere eme
Akwụsị: 57 afọ
Afọ ọmụmụ: 1832
Ebe amụrụ onye: Vienna, Vienna steeti, Austria
Afọ ọnwụ: 1889
Ebe ọnwụ: Vienna, Vienna steeti, Austria

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Original artwork description by Belvedere website (© - nke Belvedere - Belvedere)

The oil painting The stubborn donkey Anton Romako was probably in 1856 during a trip to Spain by the artist and is considered the earliest surviving genre painting in his oeuvre. The contrast, saturated colors of humorous scene corresponds to the intense light of the South. The loose and sketchy brushwork acting like about works by Francisco de Goya or El Greco remember and is probably due Romako encounter with original works of Spanish painting tradition. 1860 gained Romako in Rome primarily oriented on the art market landscape views, genre paintings and portraits large financial and social recognition. After a failed marriage to the artist in 1875 returned to Vienna, where his style but not met the prevailing taste. With his increasingly bizarre and excessive design language and the emphasis on psychological moments he took elements of early expressionism anticipated. lonely in his later years and impoverished, was Romako an outsider among the historicist painters that should be rediscovered by future generations as an important reference point. [Kerstin Krenn, in: Agnes Husslein, Severin Dünser, Luisa Ziaja (ed.), Flirting with Strangers. Encounters with works from the collection, Vienna 2015, p 106.]

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