Pierre-Auguste Renoir, 1886 - Nwanyị nwere Fan (Nwanyị nwere onye ofufe) - mbipụta nka mara mma.
Ụtụ gụnyere. Mbupu gbakọrọ na ndenye ọpụpụ.
Nchịkọta ngwaahịa nka
Ihe nka ọgbara ọhụrụ a akpọrọ Woman with a Fan (Woman with a Fan) e sere ya Pierre-Auguste Renoir in 1886. Ihe izizi nke ihe karịrị afọ 130 tụrụ nha: N'ozuzu: 22 x 18 na (55,9 x 45,7 cm). Oil on canvas (later mounted to cradled panel) was used by the French painter as the medium of the artpiece. The work of art is part of the Ụlọ ọrụ Barnes Foundation digital collection in Philadelphia, Pennsylvania, United States of America. With courtesy of - Site n'ikike nke Barnes Foundation, Merion na Philadelphia, Pennsylvania (ọha na eze).Kridi n'obi nke artpiece bụ ndị a: . E wezụga nke a, nhazi ahụ bụ Eserese ma nwee oke onyonyo nke 1: 1.2, nke pụtara na ogologo bụ 20% mkpụmkpụ karịa obosara. The illustrator, painter, sculptor Pierre-Auguste Renoir was a European artist from France, whose style can be attributed primarily to Impressionism. The European artist lived for 78 afọ, born in 1841 in Limoges, Nouvelle-Aquitaine, France and deceased in 1919.
Họrọ ihe kacha amasị gị
Nchịkọta nhọrọ ngwaahịa na-enye gị ohere ịhọrọ akụrụngwa na nha masịrị gị. Nha na ihe ndị a bụ nhọrọ anyị na-enye gị maka nkeonwe:
- Mbipụta nke aluminom: These are metal prints on aluminium dibond material with a true depth effect. The bright and white sections of the artwork shine with a silk gloss, however without the glare. The print on Aluminum Dibond is one of the most demanded entry-level products and is an extremely modern way to showcase art reproductions, since it draws focus on the replica of the artwork.
- Mbipụta kanvas: The printed canvas material stretched on a wooden frame. Hanging your canvas print: The great advantage of canvas prints is that they are relatively low in weight, which means that it is quite simple to hang the Canvas print without the support of any wall-mounts. Therefore, canvas prints are suitable for any type of wall.
- Poster (akwa akwa akwa): The poster is a UV printed canvas paper with a slightly rough finish on the surface, that resembles the actual artwork. Please bear in mind, that depending on the absolute size of the canvas poster print we add a white margin of around 2-6cm around the print to facilitate the framing with a custom frame.
- Glass acrylic e biri ebi (nwere ezigbo mkpuchi iko): The acrylic glass print, often denoted as a UV print on plexiglass, changes the original artwork into wonderful décor and makes a great alternative option to dibond or canvas art prints. The work of art will be made thanks to the help of modern UV printing machines. The result of this are vivid and impressive colors. The major benefit of a plexiglass print is that contrasts and image details become visible because of the very subtle gradation.
Ozi dị mkpa: We try all that we can to describe the products in as much detail as we can and to display them visually. However, the tone of the printed materials and the print result may differ somehwat from the image on the device's screen. Depending on your screen settings and the condition of the surface, color pigments may not be printed 100% realistically. Considering that the fine art prints are printed and processed manually, there might also be minor discrepancies in the motif's exact position and the size.
Nkọwa ngwaahịa
Nkewa ngwaahịa: | ezi nka mmeputakwa |
Usoro mmeputakwa: | mmeputakwa n'ụdị dijitalụ |
Usoro nhazi: | UV kpọmkwem obibi |
Ihe ngosi: | arụpụtara na Germany |
Stockdị ngwaahịa: | na mmepụta ihe |
Eji ngwaahịa emebere: | gallery mmeputakwa nka, mkpokọta nka (mmeputakwa) |
Ndepụta: | usoro eserese |
Njikwa oyiyi: | 1: 1.2 - ogologo: obosara |
Mmetụta nke akụkụ akụkụ: | ogologo bụ 20% mkpụmkpụ karịa obosara |
Ngwa ngwaahịa dị: | akwụkwọ mmado (akwụkwọ kwaaji), mbipụta enyo acrylic (nwere ezigbo mkpuchi iko), mbipụta akwa akwa, mbipụta ọla (aluminium dibbond) |
Mbipụta kanvas (akwa akwa na etiti ihe ndọtị): | 50x60cm - 20x24", 100x120cm - 39x47", 150x180cm - 59x71" |
Mbipụta iko acrylic (nke nwere ezigbo mkpuchi iko): | 50x60cm - 20x24", 100x120cm - 39x47" |
Nhọrọ nha nke akwụkwọ mmado (akwụkwọ kwaaji): | 50x60cm - 20x24", 100x120cm - 39x47" |
Ụdị mbipụta aluminom: | 50x60cm - 20x24", 100x120cm - 39x47" |
ụba: | biko buru n'uche na emeghi ngwaahịa a |
Ozi ndabere gbasara nka nka izizi
Aha nka: | "Woman with a Fan (Woman with a Fan)" |
Nchịkọta nke ọrụ nka: | sere |
Nhazi nka: | nkà nke oge a |
Narị afọ nka: | 19th narị afọ |
Emepụtara na: | 1886 |
Ogologo afọ nka nka: | ihe karịrị 130 afọ |
Agba na: | oil on canvas (later mounted to cradled panel) |
Akụkụ izizi (ọrụ nka): | N'ozuzu: 22 x 18 na (55,9 x 45,7 cm) |
Ụlọ ihe ngosi nka / ebe: | Ntọala Barnes |
Ebe ngosi nka: | Philadelphia, Pennsylvania, Njikota Obodo Amerika |
Weebụsaịtị nke ihe ngosi nka: | Ntọala Barnes |
Ikikere nke ihe osise: | ngalaba ọha |
Site n'aka: | Site n'ikike nke Barnes Foundation, Merion na Philadelphia, Pennsylvania |
Onye na-ese ihe
Aha onye nka: | Pierre-Auguste Renoir |
Aha ndị ọzọ: | Renuar Ogi︠u︡st, August Renoir, Renoir August, Renoir, renoir p.a., p.a. renoir, Renoir Pierre Auguste, pierre august renoir, Renoir Auguste, a. renoir, Renoar Pjer-Ogist, Auguste Renoir, Renoir Pierre August, רנואר אוגוסט, Pierre Auguste Renoir, Pierre-Auguste Renoir, firmin auguste renoir, Renoir Pierre-Auguste, רנואר פייר אוגוסט, renoir a. |
okike onye nka: | nwoke |
Obodo onye nka: | French |
Ọrụ nke onye na-ese ihe: | onye na-ese ihe, onye na-ese ihe |
Obodo obibi: | France |
Nkewa onye nka: | omenkà nke oge a |
Ụdị nke onye na-ese ihe: | Mmetụta |
Akwụsị: | 78 afọ |
Afọ ọmụmụ: | 1841 |
Obodo ọmụmụ: | Limoges, Nouvelle-Aquitaine, France |
Afọ nwụrụ: | 1919 |
Nwụrụ na (ebe): | Cagnes-sur-Mer, Provence-Alpes-Cote d'Azur, France |
Enwere ikike nwebiisinka ©, www.artprinta.com (Artprinta)
Ozi nka sitere na webụsaịtị ihe ngosi nka (© - Barnes Foundation - Ntọala Barnes)
This painting exemplifies the drastic shift in Renoir's style during the mid-1880s. After several years of working in an impressionist mode defined by loose brushwork and broken forms, Renoir decided to emulate the stability and solid forms he saw in earlier painting traditions. In this portrait of a woman holding a fan, paint is smooth, contours are unbroken, and the composition is carefully designed. Impressionist spontaneity has given way to order and balance.