Henri de Toulouse-Lautrec, 1896 - Marcelle Lender na-agba egwu Bolero na Chilpéric - mbipụta nka mara mma.

28,99 €

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  • Mbipụta enyo acrylic: The acrylic glass print, which is sometimes described as a UV print on plexiglass, makes the artwork into wonderful wall décor. The great benefit of an acrylic glass print is that contrasts plus painting details will be visible thanks to the delicate tonal gradation of the print. The plexiglass protects your selected art print against light and external influences for many years.
  • Mbipụta aluminom (aluminium dibbond): An Aluminium Dibond print is a print with a true effect of depth, creating a fashionable look throuch a non-reflective surface. For your Aluminium Dibond option, we print the chosen artwork onto the surface of the white-primed aluminum. The colors are luminous in the highest definition, the fine details are clear and crisp, and the print has a a matte look that you can literally feel. The direct print on aluminium is the most popular entry-level product and is a truly modern way to showcase artworks, because it puts all of the viewer’s focus on the artwork.
  • Mbipụta kanvas: The printed canvas, not to be mistaken with a painting on a canvas, is a digital image printed on a canvas. In addition to that, a canvas creates a homelike and comfortable feeling. The advantage of canvas prints is that they are relatively low in weight, which means that it is easy and straightforward to hang up the Canvas print without additional wall-mounts. That is why, canvas prints are suited for all types of walls.
  • Mpempe akwụkwọ ederede (akwa akwa akwa): Our poster print is a printed canvas with a slightly rough structure on the surface. Please keep in mind, that depending on the size of the poster we add a white margin of something between 2-6cm round about the work of art, which facilitates the framing with a custom frame.

Nkwupụta iwu: We try everything in order to describe the art products as accurate as possible and to illustrate them visually. Nevertheless, the tone of the print materials, as well as the printing might vary slightly from the image on the device's screen. Depending on the screen settings and the condition of the surface, color pigments can unfortunately not be printed 100% realistically. Bearing in mind that all the art prints are processed and printed by hand, there might as well be minor differences in the exact position and the size of the motif.

Additional information on the original artwork by the museum (© Copyright - National Gallery of Art - Nnukwu osisi nke Art)

Henri de Toulouse-Lautrec had a passion for the theater in all its forms, from the popular dance halls and cabarets to the avant-garde theaters of Paris. He was both a keen spectator and an active participant, designing posters, theater programs, scenery, and costumes for a number of theaters and stage productions. Although he was drawn to the spectacle of the performance, it was the performers who most fascinated him.

Among Toulouse-Lautrec's favorite subjects was the red-headed actress Marcelle Lender. He first encountered her in 1893, the year he began to attend the theater on a regular basis. His infatuation with her reached its peak two years later when she starred in the revival of the French librettist and composer Hervé's Chilpéric. Performed at the Théâtre des Variétés in Paris from February 1 to May 1, 1895, this comic operetta recounted the tale of Chilpéric, king of the Franks in the late sixth century. In a bid to consolidate his power, he allied himself with the Visigoths in Spain through a marriage to the princess Galeswinthe, even as his vengeful mistress Frédégonde plotted her murder. It was neither the melodramatic narrative nor the extravagant staging of the operetta that most appealed to Toulouse-Lautrec, however, but the actress in the role of the princess. Like all his "furias" (as the artist termed his fixations on certain performers), this one was brief but intense. During the operetta's three-month run, he attended it more than twenty times, arriving just to see Lender dance the bolero in the second act. When asked about his devotion to the play, Toulouse-Lautrec explained, "I come strictly in order to see Lender's back. Look carefully; you will seldom see anything as wonderful. Lender's back is sumptuous." He sketched and studied the actress diligently, ultimately producing six lithographs inspired by her appearance in Chilpéric (five of them of the performance itself) and two paintings, including this monumental canvas. Toulouse-Lautrec's admiration was not reciprocated. "What a horrible man!," Lender is said to have remarked. "He is very fond of me….But as for the portrait you can have it!"

One of the largest and most elaborate paintings Toulouse-Lautrec ever created, Marcelle Lender Dancing the Bolero in "Chilpéric" depicts the very scene the artist so enjoyed, in which Galeswinthe performs the bolero, a lively dance from her native Spain, for her future husband and his courtiers. She dominates the center of the composition. Dressed in a Spanish-inspired costume composed of black and bright complementary shades of red and green, her body is described in strong, sinuous lines. Toulouse-Lautrec's portrayal of the actress is both dynamic and sensual. He captures her at mid-movement, as one long leg, clad in black stockings, juts boldly outward from a swirl of pink petticoats, mimicking the silk flowers she wears in her hair in form and color. Her low-cut bodice accentuates her ample bosom, which is tinged green from the reflected glow of the footlights. All eyes are upon her as she dances, from King Chilpéric, seated on his throne at left, to Galeswinthe's brother, Don Nervoso, who stands, arms akimbo, at the far right. Gazing at her from behind with an expression of open appreciation, it is Don Nervoso and not the viewer who is the beneficiary of the fine view of Lender's back, and as such he may be a stand-in for the artist himself.

Kedu ụdị ngwaahịa anyị na-enye?

The 19th century work of art "Marcelle Lender Dancing the Bolero inChilpéric" was painted by the nwoke French onye na-ese ihe Henri sitere na Toulouse-Lautrec n’afọ 1896. Ụdị ihe osise ahụ tụrụ nha 145 x 149 cm (57 1/16 x 58 11/16 na) ma jiri ya rụọ ya mmanụ na kwaaji. Ihe osise a na-etolite akụkụ nke nchịkọta Nnukwu osisi nke Art, which is the museum of the US-American nation that preserves, collects, exhibits, and fosters an understanding of works of art. With courtesy of National Gallery of Art, Washington (nwere ikike: ngalaba ọha).The creditline of the artpiece is: . On top of that, alignment of the digital reproduction is square na a akụkụ ruru nke 1: 1, nke pụtara na ogologo ya na obosara. Henri de Toulouse-Lautrec was a artist, poster artist, painter, graphic artist, lithographer from France, whose art style was mainly Impressionism. The European artist lived for 37 afọ, born in the year 1864 in Albi, Occitanie, France and deceased in the year 1901 in Langon, Nouvelle-Aquitaine, France.

Ozi nka

Aha nke ọrụ nka: "Marcelle Lender Dancing the Bolero inChilpéric"
Nhazi: sere
Okwu mkpokọta: nkà nke oge a
Narị afọ nka: 19th narị afọ
Emepụtara n'afọ: 1896
Afọ nka: 120 afọ
Ihe osise izizi: mmanụ na kwaaji
Akụkụ nke nka nka izizi: 145 x 149 cm (57 1/16 x 58 11/16 na)
Ụlọ ihe ngosi nka / ebe: Nnukwu osisi nke Art
Ebe ngosi nka: Washington DC, Njikota Obodo Amerika
ibe weebụ: Nnukwu osisi nke Art
Ụdị nka nka: ngalaba ọha
Site n'aka: National Gallery of Art, Washington

Ozi ndabere edemede

Ụdị ngwaahịa: nka nka
Usoro mmeghari: dijitalụ mmeputakwa
Production usoro: Mbipụta UV ozugbo (mbipụta dijitalụ)
Nlụpụta: German mmepụta
Stockdị ngwaahịa: mmepụta ihe na-achọ
Ihe eji eme atụmatụ: ime ụlọ, ịchọ mma mgbidi
Ndozi onyonyo a: usoro square
Ụdị anya: ogologo: obosara 1:1
Oke onyonyo pụtara: ogologo ya na obosara
Nhọrọ akụrụngwa: akwụkwọ mmado (akwụkwọ kwaaji), mbipụta ọla (aluminium dibond), mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko), mbipụta akwụkwọ.
Mbipụta kanvas (akwa akwa na etiti ihe ndọtị) dị iche iche: 20x20cm - 8x8 ", 30x30cm - 12x12", 50x50cm - 20x20", 70x70cm - 28x28", 100x100cm - 39x39", 150x150cm - 59x59", 180-x180cm
Mbipụta iko acrylic (nwere ezigbo mkpuchi iko) nhọrọ nha: 20x20cm - 8x8", 30x30cm - 12x12", 50x50cm - 20x20", 70x70cm - 28x28", 100x100cm - 39x39"
Nhọrọ nke mbipụta akwụkwọ mmado (akwụkwọ kwaaji): 30x30cm - 12x12", 50x50cm - 20x20", 70x70cm - 28x28", 100x100cm - 39x39"
Nhọrọ aluminom dibond (ihe aluminom) nhọrọ: 20x20cm - 8x8", 30x30cm - 12x12", 50x50cm - 20x20", 70x70cm - 28x28", 100x100cm - 39x39"
Igwe onyonyo: adịghị

Nyocha ngwa ngwa nke onye na-ese ihe

Aha onye nka: Henri sitere na Toulouse-Lautrec
Aha ndi ozo: h. de toulouse-lautrec, Toulouse-Lautrec-Monfa Henri Marie Raymond de, טולוז־לוטרק, henri de toulouse lauterec, Lautrec, De Toulouse-Lautrec Henri, Lautrec Monfa Henri Marie Raymond de Toulouse-Monfa, Toulouse-Lautrec Henri de, Lautrec Henri de Toulouse, Lautrec Monfa Henri Marie Raymond de Toulouse-, lautrec henri toulouse, Lautrec Henri de Toulouse-, Henri Marie Raymond de Toulouse-Lautrec, Toulouse-Lautrec Monfa Henri Marie Raymond de, De Lautrec, Tu-lu-ssu Lo-te-lieh-kʻo Heng-li Te, Toulouse-Lautrec, Toulouse Lautrec, henri toulouse-lautrec, Toulouse Lautrec Henri de, Toulouse-Lautrec-Monfa Henri Raymond de, toulouse-lautrec henri, lautrec toulouse, Lo-te-lieh-kʻo, Henry de Toulouse-Lautrec, H. de Toulouse Lautrev, Toulouse-Lautrec Montfa Henri-Marie-Raymond de, Treclau, Henri de Toulouse-Lautrec, Tuluz-Lotrek Anri de, Toulouse-Lautrec Henri-Marie-Raymond de, Monfa Henri Marie Raymond de Toulouse-Lautrec, toulouse lautrec, Toulouse-Lautrec H. de, Henry Toulouse-Lautrec, lautrec henri tolouse, h. toulouse lautrec, טולוז לוטרק אנרי דה, Toulouse-Lautrec Henri Marie Raymond de
okike nke onye nka: nwoke
Obodo onye nka: French
Ọrụ: artist, lithographer, graphic artist, painter, poster artist
Obodo onye nka: France
Otu nka: omenkà nke oge a
styles: Mmetụta
Akwụsị: 37 afọ
Afọ ọmụmụ: 1864
Obodo: Albi, Occitanie, France
Afọ ọnwụ: 1901
Nwụrụ na (ebe): Langon, Nouvelle-Aquitaine, France

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