Лукас Кранах Старији, 1538 - Распеће - графичка графика

Уметничко дело старо преко 480 година под називом Распеће was painted by Lucas Cranach the Elder. The original version has the dimensions: 47 3/4 × 32 1/2 in (121,1 × 82,5 cm); painted surface: 47 × 32 1/2 in (119,4 × 82,5 cm). Oil on panel was applied by the artist as the medium of the artpiece. The artpiece has the following text as inscrption: inscribed: device of serpent with lowered wings and 153[8] (on cross). Данас ово уметничко дело припада дигиталној колекцији Уметнички институт Чикаго, који је један од највећих светских музеја уметности, у коме се налази колекција која обухвата векове и свет. Ово Јавни домен уметничка дела су љубазношћу Уметнички институт Чикаго. : Цхарлес Х. и Мари ФС Ворцестер Цоллецтион. Штавише, поравнање дигиталне репродукције је у томе портрет формату и има бочни однос 2 : 3, Што значи да дужина је за 33% краћа од ширине. Lucas Cranach the Elder was a painter, whose art style can be classified as Northern Renaissance. The artist lived for a total of 81 years, born in the year 1472 in Kronach, Bavaria, Germany and died in 1553 in Weimar, Thuringia, Germany.

Набавите своју омиљену варијанту материјала производа

За сваки производ нудимо низ различитих величина и материјала. Омогућавамо вам да одаберете између следећих варијанти:

• Алуминијумски двобојни отисак (метал): These are metal prints on aluminium dibond with a true depth effect, which makes a modern impression with a non-reflective surface structure. For your Direct Print On Aluminum Dibond, we print the work of art right onto the aluminium surface. The bright parts of the original artwork shimmer with a silk gloss, however without the glare.
• Штампа на платну: The UV printed canvas material stretched on a wooden stretcher frame. Your printed canvas of this masterpiece will provide you with the unique opportunity of turning your into a large work of art. Hanging your canvas print: A canvas print has the advantage of being relatively low in weight, meaning that it is easy and straightforward to hang your Canvas print without additional wall-mounts. That is why, a canvas print is suitable for all kinds of walls.
• Штампа плаката (материјал на платну): Our poster print is a UV printed canvas paper with a fine finish on the surface. It is best suited for placing the art copy using a special frame. Please note, that depending on the size of the poster we add a white margin between 2-6cm around the print motif, which facilitates the framing.
• Штампа од акрилног стакла (са правим стакленим премазом): A glossy acrylic glass print, which is sometimes referenced as a print on plexiglass, will convert your favorite original work of art into amazing décor and makes a viable alternative to dibond or canvas fine art replicas. With an acrylic glass art print contrasts and color details become more exposed thanks to the precise tonal gradation of the picture.

odricanje: We try our best to describe the products as precisely as possible and to display them visually in our shop. Although, the pigments of the print materials and the printing may diverge slightly from the representation on your device's screen. Depending on the settings of your screen and the quality of the surface, not all colors are printed one hundret percent realistically. Because all the are processed and printed by hand, there might also be minor discrepancies in the size and exact position of the motif.

О овој тачки

Основни подаци о уметничком делу

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Additional information from Art Institute Chicago (© Copyright - by Art Institute Chicago - ввв.артиц.еду)

In this crowded scene, traditional vignettes from the Crucifixion story surround the central figure of Christ on the cross. The swooning Virgins and other believers are represented at Christ’s right hand. On the other, less-favored side of the cross are Christ’s condemners and the cynics who rejected him, among them the soldiers who cast dice to divide up his clothing. Although Lucas Cranach the Elder was a friend of Martin Luther and a firm supporter of the Reformation, his highly successful workshop produced altarpieces for both Protestant and Catholic patrons. In this painting, probably used as an altarpiece, the artist does not take a stand in the doctrinal struggle that grew out of Luther’s preaching and writing beginning in 1517.