Thomas de Keyser, 1638 - Ndị Burgomasters anọ nke Amsterdam mmụta banyere ọbịbịa nke Maria de' Medici na 1 Septemba 1638 - mbipụta nka mara mma.

Ozi ndabere na mbipụta nka nke eserese The Four Burgomasters of Amsterdam Learning of the Arrival of Maria de’ Medici on 1 September 1638

Nke a masterpiece aha The Four Burgomasters of Amsterdam Learning of the Arrival of Maria de’ Medici on 1 September 1638 mere site Thomas de Keyser in 1638. Ihe okike izizi tụrụ nha: elu: 28,5 cm obosara: 38 cm | elu: 11,2 n'obosara: 15 inch e tekwara ya na ọkara mmanụ na panel. Besides, the artwork is in the the Mauritshuis's art collection. The nka ochie work of art, which is part of the public domain is provided with courtesy of Mauritshuis, The Hague. Creditline of the artwork: Steven de Leeuw, Amsterdam, 1692; Gerret Braamcamp, Amsterdam, until 1771; Prince William V, The Hague, 1771-1795; confiscated by the French, transferred to the Muséum Central des Arts/Musée Napoléon (Musée du Louvre), Paris, 1795-1815; Royal Picture Gallery, housed in the Prince William V Gallery, The Hague, 1816; transferred to the Mauritshuis, 1822; on long-term loan to the Amsterdam Museum, Amsterdam (inv. no. SB 5755), since 1980. Further, the alignment of the digital reproduction is odida obodo with a side ratio of 4 : 3, which implies that the length is 33% longer than the width. Thomas de Keyser was a architect, painter of Dutch nationality, whose art style can be classified as Baroque. The painter lived for a total of 71 afọ, amuru na 1596 and deceased in 1667 in Amsterdam, North Holland, Netherlands.

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• Aluminom dibond mbipụta (ọla): Aluminium Dibond prints are metal prints with an outstanding effect of depth. A non-reflective surface structure creates a modern impression. For the Aluminium Dibond option, we print the chosen work of art on the aluminium composite surface. The white and bright parts of the original work of art shimmer with a silky gloss but without glare. The print on aluminium is one of the most popular entry-level products and is an extremely contemporary way to showcase art reproductions, since it puts 100% of the viewer’s attention on the replica of the artwork.
• Mbipụta kwaaji: The printed canvas material mounted on a wooden frame. Your canvas print of your favorite artwork will let you turn your art print into a large work of art as you would see in a gallery. Canvas Prints have the advantage of being low in weight, which implies that it is easy to hang the Canvas print without extra wall-mounts. A canvas print is suitable for any kind of wall.
• Mbipụta enyo acrylic: A glossy print on acrylic glass, often named a UV print on plexiglass, makes your chosen original into amazing wall decoration and is a good alternative option to aluminium and canvas fine art replicas. The real glass coating protects your selected art replica against light and external influences for many decades.
• Poster (akwa akwa akwa): A poster print is a UV printed cotton canvas with a nice surface texture. Please keep in mind, that depending on the absolute size of the poster we add a white margin of approximately 2 - 6cm around the artwork, which facilitates the framing.

Ozi dị mkpa: We try our utmost in order to describe the art products in as much detail as possible and to exhibit them visually. However, the pigments of the print materials, as well as the printing can differ slightly from the presentation on your monitor. Depending on your screen settings and the condition of the surface, colors can unfortunately not be printed one hundret percent realistically. In view of the fact that the fine art prints are printed and processed manually, there might as well be slight differences in the motif's exact position and the size.

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Steven de Leeuw, Amsterdam, 1692; Gerret Braamcamp, Amsterdam, until 1771; Prince William V, The Hague, 1771-1795; confiscated by the French, transferred to the Muséum Central des Arts/Musée Napoléon (Musée du Louvre), Paris, 1795-1815; Royal Picture Gallery, housed in the Prince William V Gallery, The Hague, 1816; transferred to the Mauritshuis, 1822; on long-term loan to the Amsterdam Museum, Amsterdam (inv. no. SB 5755), since 1980