Joakim Skovgaard, 1894 - Kraịst n'alaeze nke ndị nwụrụ anwụ - ọmarịcha nka

63,99 €

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Data data

Ihe karịrị 120 years old artpiece was made by the male Danish artist Joakim Skovgaard. Taa, ọrụ nka a bụ nke Statens Museum maka Kunst (National Gallery nke Denmark)'s mkpokọta dị na Copenhagen, Denmark. Obi dị anyị ụtọ ịkpọ nke a ngalaba ọha artpiece is included with courtesy of National Gallery of Denmark.: . Furthermore, alignment is in odida obodo format ya na oke nke 1.4: 1, nke pụtara na ogologo bụ 40% ogologo karịa obosara. Joakim Skovgaard was a male painter, sculptor of Danish nationality, whose style can be attributed primarily to Realism. The European painter lived for 77 afọ, amuru na 1856 in Copenhagen, Hovedstaden, Denmark and deceased in 1933.

Họrọ ihe kacha amasị gị

Anyị na-enye ụdị dị iche iche nha na ihe maka ngwaahịa ọ bụla. Nha na ihe ndị a bụ nhọrọ anyị na-enye gị maka nkeonwe:

  • Mbipụta kanvas: A UV printed canvas mounted on a wooden stretcher frame. A canvas has the plastic look of three-dimensionality. Canvas Prints have the advantage of being relatively low in weight. This means, it is easy and straightforward to hang up your Canvas print without the help of any wall-mounts. Canvas prints are suitable for any kind of wall.
  • Glass acrylic ebipụtara nwere mmetụta na-egbuke egbuke (ya na mkpuchi iko n'ezie): The print on acrylic glass, often named a plexiglass print, transforms your favorite original work of art into amazing home decoration. The artwork is custom-made thanks to the help of modern UV printing machines.
  • Metal (aluminium debond mbipụta): This is a metal print manufactured on aluminium dibond material with an outstanding effect of depth. For the Direct Aluminium Dibond print, we print the favorite artpiece on the aluminium composite surface. The bright & white sections of the work of art shine with a silky gloss but without glare. The colors of the print are luminous, fine details of the print appear very clear.
  • Bipụta akwụkwọ mmado n'ihe kwaaji: The Artprinta poster print is a UV printed sheet of canvas paper with a nice texture on the surface, that resembles the original artwork. A poster print is suited for putting the art copy with a special frame. Please keep in mind, that depending on the absolute size of the poster print we add a white margin between 2-6cm around the painting in order to facilitate the framing with your custom frame.

Nkwupụta iwu: We try to depict our products as accurately as possible and to display them visually. Nevertheless, the tone of the printing material, as well as the printing might differ marginally from the image on your device's monitor. Depending on the screen settings and the nature of the surface, colors might not be printed 100% realistically. In view of the fact that all the art reproductions are printed and processed manually, there may as well be minor discrepancies in the size and exact position of the motif.

Ngwaahịa a

Ụdị ngwaahịa: nka nka
Mmeputakwa: dijitalụ mmeputakwa
Usoro mmepụta: Mbipụta UV ozugbo (mbipụta dijitalụ)
Mmalite ngwaahịa: arụpụtara na Germany
Stockdị ngwaahịa: mmepụta ihe na-achọ
Eji ngwaahịa emebere: mgbidi mgbidi, mgbidi gallery
Nhazi: usoro odida obodo
Oke akụkụ: ogologo: obosara - 1.4: 1
Nsonaazụ: ogologo bụ 40% ogologo karịa obosara
Nhọrọ ihe dị: Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko), mbipụta akwa akwa, mbipụta akwụkwọ mmado (akwụkwọ kwaaji), mbipụta ọla (aluminium dibbond)
Nhọrọ nke akwa akwa n'elu etiti ihe ndọtị (mbipụta akwa akwa): 70x50cm - 28x20", 140x100cm - 55x39"
Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko): 70x50cm - 28x20", 140x100cm - 55x39"
Mbipụta akwụkwọ mmado (akwụkwọ kwaaji): 70x50cm - 28x20"
Mbipụta aluminom: 70x50cm - 28x20", 140x100cm - 55x39"
ụba: adịghị

Ozi ndabere ihe nka

Aha eserese: "Christ in the Realm of the Dead"
Nhazi: sere
Okwu nche anwụ: nkà nke oge a
Nhazi oge: 19th narị afọ
Emepụtara n'afọ: 1894
Afọ nka: karịa afọ 120
Ụlọ ihe ngosi nka: Statens Museum maka Kunst (National Gallery nke Denmark)
Ebe ngosi nka: Copenhagen, Denmark
Ebe nrụọrụ weebụ ihe ngosi nka: www.smk.dk
Ikikere nke ihe osise: ngalaba ọha
Site n'aka: National Gallery nke Denmark

Nyocha ngwa ngwa nke onye na-ese ihe

Aha onye nka: Joakim Skovgaard
Aha ndị ọzọ: Joakim Skovgaard, Skovgaard Joachim Frederik, Skovgaard Joakim, Joachim Frederik Skovgaard
Gender: nwoke
Obodo onye nka: Danish
Ọrụ nke onye na-ese ihe: onye na-akpụ ihe, onye na-ese ihe
Mba onye si: Denmark
Otu nka: omenkà nke oge a
Ụdị nke onye na-ese ihe: Ihe ngosi
Nwụrụ na afọ nke: 77 afọ
Afọ ọmụmụ: 1856
Ebe omuma: Copenhagen, Hovedstaden, Denmark
Nwuru: 1933
Nwụrụ na (ebe): Copenhagen, Hovedstaden, Denmark

© nwebisiinka, www.artprinta.com (Artprinta)

Original artwork description as provided by Statens Museum for Kunst (National Gallery of Denmark) (© Copyright - Statens Museum for Kunst (National Gallery of Denmark) - www.smk.dk)

After the Crucifixion, Christ descends into the Realm of the Dead on Easter Eve to release the lost souls. With Adam and Eve at the front, the nameless dead reach out to the lightbringer who crushes the symbols of death and evil underfoot while a dark figure flees the light in the top left corner.

The literary basis for this scene was N. F. S. Grundtvig’s (1783-1872) new version (1837) of Caedmon’s Old English poem about the storming of Hell, I Kvæld blev der banket på Helvedes Port (Tonight there was a Knocking at the Gates of Hell). Skovgaard regarded his work as an artist as a calling, and his task was to let great art work as convincingly as possible for the dissemination of Christianity and the work of God.

Working out of deeply anchored personal beliefs, Skovgaard insists on depicting Christ as an almighty force that can still fight titanic battles for the sake of mankind. Mobilising the pathos and compositional dynamics of the grand style of art and combining it with his own sense of simple, decorative lines, Skovgaard not only creates an image of rare power and conviction, he also offers his personal take on how ”the grand style” could still generate relevant and interesting artistic statements.

The realm of the dead – with its anonymous throng of cadaverous beings crowding towards the light of deliverance after long years of darkness – may be Skovgaard’s allegory of his times, a period full of doubt and insecure fumbling.

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