John A. Woodside, 1825 - Still Life: Peaches, Apple, ary Pear - printy tsara tarehy

39,99 €

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Fampahalalana momba ny vokatra zavakanto amin'ny antsipiriany

Tapitra ity 190 year-old artpiece was created by the artist John A. Woodside in 1825. The masterpiece was made with the size: 9 3/4 x 12 1/4 in (24,8 x 31,1 sm) ary novokarina tamin'ny medium menaka amin'ny hazo. Amin'izao fotoana izao, ity sangan'asa ity dia an'ny fanangonana ny Ny Mozean'ny kanto Metropolitan. Miaraka amin'ny fanajana ny The Metropolitan Museum of Art, NY, Rogers Fund, 1941 (fahazoan-dalana - sehatra ho an'ny daholobe). Fanampin'izany, ny sangan'asa dia manana ny creditline: Rogers Fund, 1941. Ankoatra izany, ny alignment dia tontolo miaraka amin'ny tahan'ny 4: 3, izay midika izany ny lavany dia 33% lava noho ny sakany.

Fidio ny karazana fitaovana fanontana zavakanto anao

Ho an'ny fanontana zavakanto tsirairay dia manolotra habe sy fitaovana isan-karazany izahay. Noho izany, mamela anao hisafidy amin'ireto safidy manaraka ireto ianao:

  • Fanonta afisy (fitaovana canvas): The Artprinta poster print is a printed canvas with a fine surface finish. A printed poster is particularly qualified for putting your art replica using a custom-made frame. Please bear in mind, that depending on the absolute size of the poster print we add a white margin of approximately 2-6 cm round about the print, which facilitates the framing with your custom frame.
  • Aluminum dibond printy: These are metal prints on aluminium dibond material with an outstanding effect of depth. The Aluminium Dibond Print is the excellent introduction to art replicas with aluminum. The print on Aluminum Dibond is one of the most demanded entry-level products and is an extremely modern way to display fine art reproductions, since it puts 100% of the viewer’s focus on the replica of the artwork.
  • Ny fanontana fitaratra acryl (miaraka amin'ny coating vera tena izy): A glossy print on acrylic glass, which is often described as a plexiglass print, changes the original work of art into amazing décor and is a good alternative to aluminium or canvas art prints. Your favorite artwork is being made thanks to modern UV direct print technology. The real glass coating protects your custom art print against sunlight and external influences for several decades.
  • Ny canvas print: The UV printed canvas mounted on a wooden stretcher frame. A canvas makes the sculptural effect of three dimensionality. A canvas print has the advantage of being relatively low in weight, which means that it is easy and straightforward to hang the Canvas print without extra wall-mounts. Hence, canvas prints are suited for all types of walls.

Important legal note: We try all that we can in order to depict the art products as closely as possible and to illustrate them visually. Nevertheless, the pigments of the printed materials and the imprint might vary to a certain extent from the presentation on your screen. 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. Considering that all the fine art prints are printed and processed by hand, there might also be minor deviations in the motif's size and exact position.

Momba an'ity entana ity

Fanasokajiana ny vokatra: dika kanto
Fomba famokarana: famokarana nomerika
Teknika famokarana: UV mivantana fanontana (fanontana nomerika)
Manufacturing: Vita amin'ny Alemanina
Stock type: misy mila
Fampiasana vokatra nokasaina: fandravahana rindrina, famolavolana trano
Fanitsiana: endrika landscape
tahan'ny lafiny sary: 4: 3 - (lavany: sakany)
Dikan'ny sary ratio: ny lavany dia 33% lava noho ny sakany
Fitaovana azonao isafidianana: pirinty canvas, pirinty metaly (aluminium dibond), pirinty fitaratra acryl (miaraka amin'ny coating vera tena izy), pirinty afisy (papier canvas)
Kanvas eo amin'ny sarin'ny tonta (printy canvas): 40x30cm - 16x12"
Karazan-javatra vita amin'ny vera acrylic (miaraka amin'ny loko tena izy): 40x30cm - 16x12"
Haben'ny afisy (taratasy canvas): 40x30cm - 16x12"
Dibond print (fitaovana alumnium): 40x30cm - 16x12"
Sarin-tsary: dika kanto tsy voarafitra

Angon-drakitra momba ny zavakanto tsy manam-paharoa

Lohateny hosodoko: "Still Life: Peaches, Apple, and Pear"
Fanasokajiana ny zavakanto: hoso-doko
Fanasokajiana zavakanto: art modern
Time: Taonjato faha 19
Taona famoronana: 1825
Eo ho eo amin'ny taonan'ny zavakanto: 190 taona
Nolokoina tamin'ny: menaka amin'ny hazo
Ny refin'ny zava-kanto tany am-boalohany: 9 3/4 x 12 1/4 in (24,8 x 31,1 sm)
Museum / toerana: Ny Mozean'ny kanto Metropolitan
Toerana tranombakoka: New York City, New York, Etazonia
Pejin'ny tranombakoka: Ny Mozean'ny kanto Metropolitan
Karazana lisansa momba ny asa tanana: bahoaka
Nahazoana lalana avy amin'ny: The Metropolitan Museum of Art, NY, Rogers Fund, 1941
Creditline: Rogers Fund, 1941

Fampahalalana ankapobeny momba ny mpanakanto

Artist: John A. Woodside
Anarana fanampiny: John A. Woodside, John Archibald Woodside
Gender of the artist: lahy
zom-pirenen'ny mpanakanto: Malagasy
Ny asan'ny mpanakanto: painter, history artist, artist
Firenena mpanakanto: Etazonia
Fanasokajiana mpanakanto: mpanakanto maoderina
Androm-piainana: 71 taona
teraka: 1781
tanàna niaviany: Philadelphia, Philadelphia county, Pennsylvania, Etazonia
taona maty: 1852
Tanànan'ny fahafatesana: Philadelphia, Philadelphia county, Pennsylvania, Etazonia

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Famaritana ankapobeny nataon'ny The Metropolitan Museum of Art (© - The Metropolitan Museum of Art - Ny Mozean'ny kanto Metropolitan)

Woodside probably received his training from Philadelphia sign painter Matthew Pratt or one of Pratt’s business partners. In 1805, Woodside opened his own studio in Philadelphia, advertising his services as an ornamental or sign painter. He aspired to less mundane genres, however, and tried his hand at emblematic and patriotic works, animal scenes, miniatures, and copies after English engravings. This work and its companion, "Still Life: Peaches and Grapes" (41.152.1), are among Woodside’s few known still lifes and represent his best efforts as a painter. His arrangement of the fruit in a spare setting bears the stylistic imprint of the Peale family, who established a still-life tradition in Philadelphia in the early nineteenth century.

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