Rembrandt Peale, 1817 - Foto nke Jane Griffith Koch - mbipụta nka mara mma

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Ihe nka nke oge a Portrait of Jane Griffith Koch mere site na nwoke artist Rembrandt Peale. Ihe okike izizi nwere nha: 34 × 29 1/16 na (86,36 × 73,82 cm) e jikwa nkà na-ese ihe mmanụ na kwaaji. Today, the artwork belongs to the collection of Los Angeles County Museum of Art, which is the largest art museum in the western United States, with a collection of more than 142.000 objects that illuminate 6.000 years of artistic expression across the globe. We are pleased to reference that this ngalaba ọha a na-enye masterpiece site n'ikike nke Ụlọ ihe ngosi nka nke Los Angeles County (www.lacma.org).: . What is more, the alignment is portrait and has a side ratio of 1 : 1.2, meaning that ogologo bụ 20% mkpụmkpụ karịa obosara. Rembrandt Peale was a male curator, painter of American nationality, whose art style can be classified as Neoclassicism. The Neoclassicist painter lived for a total of 82 afọ and was born in 1778 in Bucks county, Pennsylvania, United States, county and passed away in the year 1860 in Philadelphia, Philadelphia county, Pennsylvania, United States.

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Maka mbipụta nka ọ bụla anyị na-enye nha na ihe dị iche iche. Ị nwere ike ịhọrọ n'ime nhọrọ nhazi ngwaahịa ndị a:

• Akwụkwọ mmado ebipụtara (akwa akwa akwa): The poster print is a printed canvas paper with a granular surface structure, which reminds the actual masterpiece. Please bear in mind, that depending on the size of the poster print we add a white margin 2-6cm round about the work of art, which facilitates the framing with your custom frame.
• Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko): An acrylic glass print, often labelled as a UV print on plexiglass, will transform the artwork into beautiful décor. Our real glass coating protects your chosen art print against sunlight and external influences for many years to come.
• Mbipụta kwaaji: The printed canvas material stretched on a wood frame. Canvas prints are relatively low in weight. That means, it is easy to hang your Canvas print without the use of any wall-mounts. That is why, canvas prints are suitable for any kind of wall.
• Aluminom dibond (ọkpụkpụ ọla): Aluminium Dibond prints are prints on metal with a true depth, which makes a fashionable impression by having a surface structure, which is non-reflective. For our Print On Aluminum Dibond, we print the chosen work of art right onto the surface of the aluminum material. The bright & white parts of the work of art shine with a silky gloss but without the glare.

Nkwupụta iwu: We do what we can in order to describe the art products as accurately as possible and to display them visually. Nonetheless, the tone of the printed materials, as well as the printing might diverge slightly from the image on the device's monitor. Depending on the screen settings and the quality of the surface, not all color pigments can be printed one hundret percent realistically. Given that the art reproductions are printed and processed manually, there might as well be minor discrepancies in the motif's size and exact position.

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(© - site na Los Angeles County Museum of Art - www.lacma.org)

Notes from the Curator: The letter that the male sitter has apparently just pulled from his correspondence folder is addressed to [Ja]cob Gerard Koch (1761-1830), a prosperous merchant and prominent citizen of Philadelphia. Born in Holland, Koch emigrated to America before 1778. His business as an importer and merchant of "German" linens made him wealthy enough to purchase a country estate, Fountain Green, at the Falls of the Schuylkill in about 1801 and leave an immense estate in 1830 of more than a million dollars. A conspicuous patriot during the War of 1812, he contributed five thousand dollars toward the building of a frigate. Contemporaries remarked upon his exceptional corpulence; he weighed more than three hundred pounds. The letter bears a postal hand stamp "SHIP" and a manuscript rate marking "6." Although the six-cent rate was in use for a long time (1794-1861), the earliest known use of the "SHIP" hand stamp was in 1817, which suggests to historian Frederick S. Dickson that the paintings should be dated between 1817 and 1820, when Koch retired from business and moved to Paris. At that time he was married to his second wife, Jane Griffith (born in Ireland about 1772), whom he had married in Philadelphia in 1801. She survived her husband and lived in Paris until 1848. In 1833 Mrs. Koch wrote to her brother-in-law Matthew Huizinga Messchert in Philadelphia to order a copy of the portraits from THOMAS SULLY, who referred to them in his journal as by "R. Peale," confirming the stylistic evidence that points to an attribution of the original portraits to Rembrandt Peale. Closely comparable with the Koch portrait, for instance, would be Rembrandt Peale’s portrait of General Samuel Smith from the period of about 1817-18, in Baltimore’s Peale Museum, and his portrait of Isaac McKim of the same period at the Maryland Historical Society. Peale frequently posed his male subjects with one arm over a chair back to create a pyramidal composition, as in the portrait of Koch. Together with a general simplification and geometrizing of form, this most stable of compositions contributes to the neoclassical order of the portrait, which, however, is balanced by the strong contrasts and turbulent sky painted in the romantic tradition. As was his custom, Peale carried out the wife’s portrait in an even more romantic manner, with flowing lines, softer modeling, and a less direct gaze. While the male and female types are dissimilar, the unified architectural space between the portraits leaves little doubt that they are a pair. This background is among the most elaborate and impressive that Rembrandt Peale painted. Together with the richness and high quality of the figure painting, it marks the pair as among the artist’s finest works.

Notes from the Contributor: Painting by Rembrandt Peale (Museum: Los Angeles County Museum of Art)