Jacob van Ruisdael, 1670 - Mmiri mmiri dị ala na ala osisi nwere osisi Beech nwụrụ anwụ - mbipụta nka mara mma.

Ozi izugbe dị ka enyere site na ụlọ ngosi nka (© - Ụlọ ihe ngosi nka nke Cleveland - Velọ ihe ngosi nka nke Cleveland)

Jutting from a dune in the foreground, the massive silvery trunk of a dead tree leads the eye across a waterfall and toward a distant sunlit field where travelers and a dog traverse a sandy path. Partly masked by trees, a ruined building is turned gold by the sun. In Jacob van Ruisdael’s landscapes, dead trees, waterfalls, and ruined buildings were visual expressions of the passage of time. Ruisdael devoted equal attention to the cloud-filled skies looming above the land, creating dramatic patterns of light and shadow and revealing the unseen movements of the wind.

Nkọwa ngwaahịa

The 17th century painting was created by the painter Jacob van Ruisdael n’afọ 1670. The beyond 350 year old original has the following size: Framed: 123 x 157 x 9,5 cm (48 7/16 x 61 13/16 x 3 3/4 in); Unframed: 99,2 x 131 cm (39 1/16 x 51 9/16 in) and was crafted with oil on canvas. Signed lower left: "JvRuisdael {JvR in monogram]" was the painting's original inscription. The artpiece is in the the The Cleveland Museum of Art's collection, which is one of the leading museums worldwide that builds, preserves, studies, and shares its outstanding collections of art from all periods and parts of the world, generating new scholarship and understanding, while serving as a social and intellectual hub for its community. With courtesy of: The Cleveland Museum of Art (nwere ikike - ngalaba ọha). : Mr. and Mrs. William H. Marlatt Fund. Furthermore, alignment of the digital reproduction is in landscape format na a akụkụ ruru nke 4: 3, nke pụtara na ogologo bụ 33% ogologo karịa obosara.

Kedu ihe ngwaahịa kacha amasị gị?

Maka mbipụta nka ọ bụla anyị na-enye ụdị nha na ihe dị iche iche. Họrọ n'ime nhọrọ ngwaahịa ndị a ugbu a ka ị kwekọọ na mmasị gị na nha na akụrụngwa:

• Kwaaji: The UV printed canvas mounted on a wood frame. It has the typical effect of three-dimensionality. A canvas generates a cosy and comfortable effect. A canvas print has the great advantage of being low in weight, which means that it is easy and straightforward to hang up the Canvas print without the support of any wall-mounts. Hence, canvas prints are suitable for all types of walls.
• Mpempe akwụkwọ ederede (akwa akwa akwa): A poster is a UV printed sheet of flat canvas paper with a slightly rough structure on the surface, that reminds the actual version of the masterpiece. Please keep in mind, that depending on the absolute size of the poster we add a white margin of approximately 2-6cm around the print motif in order to facilitate the framing with a custom frame.
• Bipụta na iko acrylic na-egbuke egbuke (nke nwere ezigbo mkpuchi iko): An print on acrylic glass, often labelled as a UV print on plexiglass, will convert your favorite original into marvellous home décor and forms a viable alternative to aluminium and canvas art prints. The real glass coating protects your selected art replica against light and external influences for up to six decades.
• Mbipụta nke aluminom: Aluminium Dibond prints are prints on metal with an outstanding depth effect. Its non-reflective surface structure creates a contemporary look. The white and bright parts of the original artwork shimmer with a silky gloss, however without any glare. The colors are bright and luminous in the highest definition, the details of the print are very clear. This direct print on Aluminum Dibond is one of the most popular entry-level products and is a truly sophisticated way to showcase art, as it puts the viewer’s focus on the whole artwork.

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Banyere ihe

Ihe dị mkpa: We try everything to depict the products as precisely as we can and to illustrate them visually on the various product detail pages. Although, some tone of the printed materials, as well as the imprint can diverge marginally from the representation on the device's monitor. Depending on your screen settings and the nature of the surface, not all color pigments are printed 100% realistically. Considering that the art reproductions are processed and printed manually, there might as well be slight discrepancies in the motif's size and exact position.

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