Gerard David, 1506 - Annunciation - ọmarịcha nka

Ozi ngwaahịa ebipụta zuru oke

Ọrụ nka Ọkpụkpọ onye na-ese ihe sere ya Gerard david n’afọ 1506. Nke mbụ tụrụ nha: Angel, overall 31 1/8 x 25 in (79,1 x 63,5 cm), painted surface 30 1/4 x 24 3/8 in (76,8 x 61,9 cm); Virgin, overall 31 1/8 x 25 1/4 in (79,1 x 64,1 cm), painted surface 30 1/2 x 24 3/4 in (77,5 x61,9 cm). Oil on wood was applied by the Dutch painter as the technique for the artwork. The artpiece is in the the Ụlọ ihe ngosi nka nke Metropolitan collection, nke bụ otu n'ime ụwa kasị na kasị mma art ngosi ihe mgbe ochie, nke na-agụnye ihe karịrị nde abụọ ọrụ nka spanning puku afọ ise nke omenala ụwa, site prehistory ruo ugbu a na site n'akụkụ ọ bụla nke ụwa .. Site n'ikike nke - Ụlọ ihe ngosi nka nke Metropolitan, New York, Arịrịọ nke Mary Stillman Harkness, 1950 (licensed: public domain). Creditline of the artwork: Bequest of Mary Stillman Harkness, 1950. On top of that, alignment of the digital reproduction is in Eserese format na a akụkụ ruru nke 1: 1.2, nke pụtara na ogologo bụ 20% mkpụmkpụ karịa obosara. Gerard David was a male artist, illuminator, painter, drawer, miniaturist, whose style can primarily be assigned to Northern Renaissance. The Dutch painter was born in 1460 in Oudewater, Utrecht province, Netherlands and deceased at the age of 63 na 1523 na Bruges, West-Vlaanderen, Flanders, Belgium.

Ngwa ihe ị nwere ike họrọ na:

Anyị na-enye ihe dị iche iche dị iche iche na nha maka ngwaahịa ọ bụla. Nhọrọ ndị a dị maka n'otu n'otu:

• Mbipụta nke aluminom: These are metal prints on aluminium dibond with an outstanding depth effect - for a modern impression and non-reflective surface structure. For our Aluminium Dibond option, we print your work of art onto the surface of the white-primed aluminum. The colors are bright and luminous in the highest definition, details of the print are very clear, and there’s a matte look you can literally feel.
• Ebipụta akwụkwọ mmado na ihe akwa akwa: The Artprinta poster print is a printed flat canvas paper with a slightly rough surface finish, that resembles the original version of the artwork. Please bear in mind, that depending on the absolute size of the poster print we add a white margin of around 2 - 6cm round about the work of art, which facilitates the framing.
• Mbipụta kanvas: The UV printed canvas material mounted on a wooden frame. How do I hang a canvas on the wall? The great advantage of canvas prints is that they are relatively low in weight, which means that it is easy and straightforward to hang up your Canvas print without extra wall-mounts. Hence, a canvas print is suited for all types of walls.
• Bipụta na enyo acrylic: The acrylic glass print, often referenced as a plexiglass print, changes your favorite original work of art into brilliant décor. What is more, it offers a good alternative option to canvas or aluminium dibond art prints. The artwork is being custom-made with the help of modern UV printing technology. The great advantage of a plexiglass art print is that contrasts and also small color details will be exposed with the help of the very subtle gradation in the picture.

Ederede iwu dị mkpa: We try everythig possible in order to depict our art products with as many details as possible and to showcase them visually. However, the tone of the printing material, as well as the printing may diverge marginally from the representation on your device's screen. Depending on your screen settings and the quality of the surface, not all color pigments are printed 100% realistically. Given that the art reproductions are processed and printed by hand, there might also be minor differences in the exact position and the size of the motif.

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

Ozi nkowa mgbakwunye as provided from The Metropolitan Museum of Art (© Nwebiisinka - The Metropolitan Museum of Art - Museumlọ ihe ngosi nka nke Obodo)

These panels were part of a spectacular multi-storied polyptych commissioned by Vincenzo Sauli, a wealthy Italian banker and diplomat with connections to Bruges, for the high altar of the Benedictine abbey church of San Gerolamo della Cervara, near Genoa. Taking the placement of the Annunciation within the altarpiece into account, David has altered the perspective and the scale of the figures, since both panels were meant to be viewed from below. In style, the ensemble reveals a synthesis of Northern and Italian artistic modes that perhaps reflect the patron’s ties to both regions.