Auguste Renoir, 1885 - Ndụ ka nwere okooko osisi na prickly pears - mbipụta nka mara mma.
Ụtụ gụnyere. Mbupu gbakọrọ na ndenye ọpụpụ.
Nchịkọta nke oyiri
Still Life with Flowers and Prickly Pears bụ ihe nka mere French painter Auguste Renoir in 1885. The original version was painted with the exact size: 28 7/8 x 23 3/8 na (73,3 x 59,4 cm) and was manufactured with oil on canvas. Nowadays, this artwork forms part of the Ụlọ ihe ngosi nka nke Metropolitan nchịkọta nka dijitalụ. Site n'ikike nke - The Metropolitan Museum of Art, New York, Bequest of Catherine Vance Gaisman, 2010 (ọha na eze). Na mgbakwunye, ọrụ nka nwere akara kredit: Bequest of Catherine Vance Gaisman, 2010. E wezụga nke ahụ, nhazi ahụ dị na eserese format na nwere akụkụ ruru nke 1: 1.2, nke pụtara na ogologo 20% dị mkpụmkpụ karịa obosara.
Họrọ nhọrọ ihe ebipụta nka
Anyị na-enye ụdị nha na ihe dị iche iche maka ngwaahịa ọ bụla. Anyị na-ahapụ gị ka ịhọrọ n'ime ụdị ndị a:
- Mbipụta kanvas: The printed canvas, which shall not be confused with a canvas painting, is a digital replica printed on an industrial printing machine. A canvas produces a unique look of three dimensionality. A canvas print of your favorite work of art will give you the chance of turning your fine art print into a large artwork as you know from galleries. Canvas prints are relatively low in weight, which implies that it is easy to hang your Canvas print without any wall-mounts. Because of thatcanvas prints are suited for all kinds of walls.
- Mbipụta akwụkwọ mmado (akwa akwa akwa): A poster print is a UV printed canvas with a granular finish on the surface. It is excellently suited for putting the art copy with the help of a custom-made frame. Please keep in mind, that depending on the size of the canvas poster print we add a white margin of approximately 2-6cm around the work of art in order to facilitate the framing.
- Mbipụta nke aluminom: This is a metal print made on aluminium dibond material with an impressive depth. For the Aluminium Dibond option, we print the selected artwork onto the aluminium composite white-primed surface. The UV print on Aluminum Dibond is one of the most demanded entry-level products and is an extremely stylish way to display artworks, as it draws attention on the image.
- Mbipụta iko acrylic na-egbuke egbuke (nke nwere ezigbo mkpuchi iko): An print on acrylic glass, which is often referenced as a print on plexiglass, will change the original into home decoration. Further, it offers a viable alternative to aluminium and canvas fine art prints. Your own replica of the work of art will be custom-made thanks to the help of modern UV direct print machines. This makes deep, rich colors. The major advantage of a plexiglass print is that contrasts plus small details will be identifiable due to the granular tonal gradation in the picture. Our acrylic glass protects your custom art print against sunlight and heat for many years to come.
Ederede iwu: We try to depict our art products with as many details as possible and to showcase them visually. Nevertheless, the pigments of the printing material and the print result can differ slightly from the presentation on the device's monitor. Depending on the settings of your screen and the condition of the surface, colors can unfortunately not be printed as exactly as the digital version depicted here. Given that the art prints are processed and printed by hand, there may as well be minor deviations in the motif's exact position and the size.
Nkọwa ngwaahịa ahaziri ahazi
Bipụta ngwaahịa: | ezi nka mmeputakwa |
Mmeputakwa: | dijitalụ mmeputakwa |
Usoro nhazi: | UV kpọmkwem obibi |
Mmalite ngwaahịa: | German mere |
Ụdị ngwaahịa: | na mmepụta ihe |
Eji ngwaahịa a chọrọ: | mgbidi mgbidi, mgbidi gallery |
Nhazi onyonyo: | usoro eserese |
Ụdị anya: | 1:1.2- (ogologo: obosara) |
Mmetụta akụkụ onyonyo: | ogologo bụ 20% mkpụmkpụ karịa obosara |
Ụdị ihe dị iche iche dị: | ígwè obibi akwụkwọ (aluminium dibond), akwụkwọ mmado (akwụkwọ kwaaji), mbipụta enyo acrylic (nke nwere ezigbo mkpuchi iko), mbipụta akwụkwọ. |
Mbipụta kanvas (akwa akwa na etiti ihe ndọtị) dị iche iche: | 50x60cm - 20x24", 100x120cm - 39x47", 150x180cm - 59x71" |
Mbipụta iko acrylic (nwere ezigbo mkpuchi iko) nhọrọ nha: | 50x60cm - 20x24", 100x120cm - 39x47" |
Mbipụta akwụkwọ mmado (akwụkwọ kwaaji): | 50x60cm - 20x24", 100x120cm - 39x47" |
Nha aluminom dibond (ihe aluminom) nha: | 50x60cm - 20x24", 100x120cm - 39x47" |
Nhazi mbipụta nka: | agunyeghi |
Iberibe nkọwa nka
Aha ọrụ nka: | "Still Life with Flowers and Prickly Pears" |
Nhazi nka: | sere |
Otu izugbe: | nkà nke oge a |
oge: | 19th narị afọ |
Afọ okike: | 1885 |
Ogologo afọ nka nka: | karịa afọ 130 |
Ihe osise izizi: | mmanụ na kwaaji |
Akụkụ izizi nka: | 28 7/8 x 23 3/8 na (73,3 x 59,4 cm) |
Ụlọ ihe ngosi nka / ebe: | Museumlọ ihe ngosi nka nke Obodo |
Ebe ngosi nka: | New York City, New York, Njikota Obodo Amerika |
Dị n'okpuru: | Museumlọ ihe ngosi nka nke Obodo |
Ụdị nka nka: | ngalaba ọha |
Site n'aka: | The Metropolitan Museum of Art, New York, Bequest of Catherine Vance Gaisman, 2010 |
Ebe E Si Nweta: | Bequest of Catherine Vance Gaisman, 2010 |
Ozi izugbe na onye na-ese ihe
Aha onye nka: | Auguste Nnukwu |
okike onye nka: | nwoke |
Obodo onye nka: | French |
Ọrụ: | onye na-ese ihe |
Obodo obibi: | France |
Otu nka: | omenkà nke oge a |
Oge ndu: | 78 afọ |
Afọ ọmụmụ: | 1841 |
Nwụrụ n'afọ: | 1919 |
© Nwebiisinka nke | Artprinta (www.artprinta.com)
Nkọwa agbakwunyere site na The Metropolitan Museum of Art (© - Ụlọ ihe ngosi nka nke obodo ukwu - Museumlọ ihe ngosi nka nke Obodo)
This picture is closely related to Still Life: Flowers, 1885 (Solomon R. Guggenheim Museum, New York), which depicts the same vase—with its distinctive elephant-head handles—and wood table or dresser. Featuring an autumnal bouquet and Cézannesque arrangement of prickly pears, the present still life was likely painted the same year, in the wake of a visit with Cézanne that summer. At this time, Renoir sought to combine the luminosity of Impressionism with a greater degree of classicism, prompting him to explore techniques that would emulate the dry, light colors of Italian frescoes, which have led to some surface cracks.