Vincent van Gogh, 1888 - Ugbo ulo na Provence - mbipụta nka mara mma

39,99 €

Ụtụ gụnyere. Mbupu gbakọrọ na ndenye ọpụpụ.

Farmhouse in Provence bụ site na Dutch artist Vincent van Gogh. The artwork has the following size: 46,1 x 60,9 cm. Mmanụ na kwaaji was used by the European painter as the technique for the masterpiece. Moveover, the artwork is part of the National Gallery of Art's digital art collection. With courtesy of: National Gallery of Art, Washington (nwere ikike: ngalaba ọha).Additionally, the work of art has the creditline: . On top of that, alignment of the digital reproduction is in landscape format with a side ratio of 4: 3, nke pụtara na ogologo bụ 33% ogologo karịa obosara. The painter, botanical illustrator, printmaker, drawer Vincent van Gogh was an artist, whose artistic style was mainly Post-Impressionism. The Dutch painter lived for a total of 37 afọ - amuru n'ime 1853 na Zundert, North Brabant, Netherlands ma nwụọ n'afọ 1890 na Auvers-sur-Oise, Ile-de-France, France.

Akụrụngwa ị nwere ike isi na ya nweta

In the product dropdown menu you can choose your individual size and material. Choose among the following product options now to match your preferences in size and material:

  • Mbipụta aluminom (aluminium dibbond): An Aluminium Dibond print is a print material with a true depth, which creates a contemporary look by having a surface , which is non-reflective. Colors are luminous in the highest definition, details appear crisp, and the print has a a matte look you can literally feel.
  • Poster (akwa akwa akwa): Our poster is a printed sheet of canvas with a slightly rough finish on the surface. Please note, that depending on the absolute size of the poster we add a white margin of something between 2-6cm around the artwork, which facilitates the framing with your custom frame.
  • Kwaaji: A canvas direct print is a printed cotton canvas stretched on a wooden stretcher. A canvas creates the distinctive impression of three-dimensionality. What is more, canvas print creates a lively, positive effect. Hanging your canvas print: The great advantage of canvas prints is that they are relatively low in weight, which implies that it is easy and straightforward to hang the Canvas print without the help of extra wall-mounts. Hence, a canvas print is suitable for all types of walls.
  • Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko): The acrylic glass print, which is often labelled as a plexiglass print, will change your original artwork into beautiful wall decoration. The artwork is being manufactured with the help of state-of-the-art UV print technology. The special effect of this are deep and rich colors. Our plexiglass with real glass coating protects your custom art replica against light and heat for many years to come.

Ozi dị mkpa: We try our utmost to describe the products with as many details as possible and to display them visually. Although, the colors of the printed materials and the imprint can diverge marginally from the presentation on the screen. Depending on the screen settings and the quality of the surface, color pigments can unfortunately not be printed one hundret percent realistically. Considering that the are processed and printed by hand, there may also be minor discrepancies in the exact position and the size of the motif.

Ngwaahịa a

Ụdị edemede: ọmarịcha nka
Usoro mmeputakwa: mmeputakwa n'ụdị dijitalụ
Usoro mmepụta: Mbipụta UV / dijitalụ
Nlụpụta: emepụtara na Germany
Ụdị ngwaahịa: a na-achọ
Eji ngwaahịa a chọrọ: mgbidi mgbidi, mgbidi ndozi
Nhazi onyonyo: usoro odida obodo
Ụdị anya: 4: 3
Mmetụta nke akụkụ akụkụ: ogologo bụ 33% ogologo karịa obosara
Nhọrọ ihe onwunwe: ígwè ebipụta (aluminium dibond), acrylic glass print (nwere ezigbo mkpuchi iko), mbipụta akwa akwa, mbipụta akwụkwọ mmado (akwụkwọ kwaaji)
Kanvas n'elu etiti ihe ndọtị (mbipụta akwa akwa): 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
Mpempe iko acrylic (nwere ezigbo mkpuchi iko) nha dị iche iche: 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
Mbipụta akwụkwọ mmado (akwụkwọ kwaaji): 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
Ụdị mbipụta Dibond (ihe alumnium) dị iche iche: 40x30cm - 16x12", 80x60cm - 31x24", 120x90cm - 47x35"
Nhazi nke nnomi nka: ngwaahịa anaghị emebi emebi

Nkọwa ọrụ nka

Aha eserese ahụ: "Farmhouse in Provence"
Nhazi nke ihe nka: sere
Nhazi nka: nkà nke oge a
Narị afọ nka: 19th narị afọ
Emepụtara na: 1888
Afọ nka: ihe karịrị 130 afọ
Agba na: mmanụ na kwaaji
Nha izizi (ọrụ nka): 46,1 x 60,9 cm
Ụlọ ihe ngosi nka: Nnukwu osisi nke Art
Ebe ngosi nka: Washington DC, Njikota Obodo Amerika
Weebụsaịtị nke ihe ngosi nka: Nnukwu osisi nke Art
Ụdị ikike nka: ngalaba ọha
Site n'aka: National Gallery of Art, Washington

Nkọwa onye nka

Ihe nkiri: Vincent van Gogh
Aha ndi ozo: Vincent van Gogh, Fangu Wensheng, ゴッホ, v. van gogh, 梵高, j. van gogh, van Gogh Vincent, גוג וינסנט ואן, Van-Gog Vint︠s︡ent, ビンセントゴッホ, Gogh, Fangu, Fan'gao, Gogh Vincent van, van gogh, Gogh Vincent Willem van, גוך וינסנט ואן, Gogh Vincent-Willem van, Fan-kao, Fan-ku
okike onye nka: nwoke
Obodo onye nka: Dutch
Ọrụ: onye na-ebi akwụkwọ, drawer, onye na-ese ihe, ihe osise
Mba onye si: mba netherland
Otu nka: omenkà nke oge a
Ụdị nka: Mmetụta post-impression
Afọ ọnwụ: 37 afọ
A mụrụ: 1853
Obodo ọmụmụ: Zundert, North Brabant, Netherlands
Nwụrụ n'afọ: 1890
Obodo ọnwụ: Auvers-sur-Oise, Ile-de-France, France

© Nwebiisinka - ikike ọgụgụ isi nke, www.artprinta.com (Artprinta)

Additional artwork information by National Gallery of Art (© - by National Gallery of Art - Nnukwu osisi nke Art)

Van Gogh arrived in Arles in February 1888, the landscape covered with snow. But it was sun that he sought in Provence—a brilliant light that would wash out detail and simplify forms, reducing the world around him to the kinds of flat patterns he admired in Japanese woodblock prints. Arles, he said, was "the Japan of the South." Van Gogh's time in Arles was amazingly productive. In about 15 months—just 444 days—he produced more than 200 paintings, about 100 drawings, and wrote more than 200 letters.

He described a series of seven studies of wheat fields: "landscapes, yellow—old gold—done quickly, quickly, quickly, and in a hurry just like the harvester who is silent under the blazing sun, intent only on the reaping." Yet he was also at pains to point out that these works should not be "criticized as hasty" since this "quick succession of canvases [was] quickly executed but calculated long beforehand."

Pairs of complementary colors—the red and green of the plants, the woven highlights of oranges and blue in the fence, even the pink clouds that enliven the turquoise sky—shimmer and seem almost to vibrate against each other. The impressionists used this technique to enhance the luminosity of their pictures. Pissarro, who helped introduce Van Gogh to these concepts, noted, "if I didn't know how colors behaved from the researches of...scientists, we [the impressionists] would not have been able to pursue our study of light with so much confidence."

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(Ebe ngosi nka: National Gallery of Art)

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