Anne Louis Girodet-Trioson, 1823 - Madame Jacques-Louis Etienne Reizet (Colette-Desiree Theresa Godfrey, 1782-1850) - uchapishaji mzuri wa sanaa

Kazi ya sanaa ya kisasa inayoitwa Madame Jacques-Louis Etienne Reizet (Colette-Desiree Theresa Godfrey, 1782-1850) iliundwa na kike French painter Anne Louis Girodet-Trioson. The artwork measures the size: 23 3/4 x 19 1/2 in (60,3 x 49,5 cm). Mafuta kwenye turubai was used by the European painter as the technique for the painting. What is more, the artpiece is part of the collection of Makumbusho ya Metropolitan ya Sanaa. Mchoro huu, ambao ni sehemu ya kikoa cha umma umejumuishwa kwa hisani ya The Metropolitan Museum of Art, New York, Purchase, Gifts of Joanne Toor Cummings, Mr. and Mrs. Richard Rodgers, Raymonde Paul, and Estate of Dorothy Lichtensteiger, by exchange, 1999. Mstari wa mkopo wa mchoro ni: Purchase, Gifts of Joanne Toor Cummings, Mr. and Mrs. Richard Rodgers, Raymonde Paul, and Estate of Dorothy Lichtensteiger, by exchange, 1999. Zaidi ya hayo, usawazishaji uko ndani picha ya umbizo lenye uwiano wa 1 : 1.2, ambayo ina maana kwamba urefu ni 20% mfupi kuliko upana.

Chagua nyenzo zako

In the dropdown menu next to the product you can choose your favorite size and material. We allow yout to choose among the following variants:

• Mchapishaji wa glasi ya akriliki: The print on acrylic glass, often named a an art print on plexiglass, will convert the artwork into beautiful décor. Your favorite artwork is made with modern UV direct printing technology. The major benefit of a plexiglass print is that sharp contrasts and image details become visible thanks to the precise gradation. The real glass coating protects your selected art replica against light and heat for up to six decades.
• Turubai: A printed canvas, not to be mistaken with an artwork painted on a canvas, is a digital copy printed on a cotton canvas. It makes a particular effect of three-dimensionality. A printed canvas of your favorite work of art will let you turn your fine art print into a large artpiece. The great advantage of canvas prints is that they are relatively low in weight. This means, it is quite simple to hang up the Canvas print without additional wall-mounts. Canvas prints are suitable for any kind of wall.
• Bango (nyenzo za turubai): The poster is a printed flat cotton canvas with a slight surface structure. It is particularly used for framing your art print in a custom frame. Please bear in mind, that depending on the absolute size of the poster print we add a white margin between 2-6cm around the print, which facilitates the framing.
• Chapa ya chuma (dibond ya alumini): An Aluminium Dibond print is a print material with an impressive depth. A direct Direct Print on Aluminum Dibond is your ideal start to fine replicas on aluminum. For our Aluminium Dibond print, we print the favorite artpiece onto the surface of the white-primed aluminum material. The bright & white sections of the original artwork shine with a silky gloss but without any glare. Colors are vivid and luminous in the highest definition, fine details of the print appear crisp and clear, and there’s a matte look you can literally feel. The direct print on Aluminum Dibond is the most popular entry-level product and is a sophisticated way to display fine art prints, because it puts the viewer’s attention on the image.

Muhimu kumbuka: We try all that we can to depict our products as exact as it is possible and to illustrate them visually on the different product detail pages. Although, the tone of the print materials, as well as the print result may diverge somehwat from the representation on the monitor. Depending on the screen settings and the nature of the surface, color pigments might not be printed 100% realistically. Given that our are processed and printed by hand, there might as well be slight deviations in the motif's exact position and the size.

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Maelezo ya kazi ya sanaa

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© Ulinzi wa hakimiliki, Artprinta.com (Artprinta)

(© Hakimiliki - Makumbusho ya Sanaa ya Metropolitan - Makumbusho ya Metropolitan ya Sanaa)

This work, one of Girodet’s last, betrays the meticulous technique characteristic of the neoclassicism of his teacher, Jacques-Louis David, as well as the perfected forms of the Florentine Renaissance. Letters exchanged between Girodet and the sitter indicate that they knew each other well, and that every detail of the portrait was worked out beforehand. Madame Reizet’s husband was a prominent government official; her son, Marie-Frédéric de Reiset, was a curator at the Louvre who later became director of the French National Museums.