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Ihre gemälde-reproduktion kann alt und spröde wie das museumsoriginal gemacht werden.
Sie können alt antiquarisch aussehende von der button unter dem bild des gemäldes.
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Das Effekt der Veralterung verleiht dem Bild eine unvergleichliche Anmut, Autentizität und Adel. Mit diesem Aussehen können die Handgemalte Kunstreproduktionen jedem Interieur einen einzigartigen, neuen Stil geben.
Der Prozess der Veralterung des Bildes ist völlig mit der Technologie der Ölmalerei kompatibel und beschädigt auf keine Weise ihre Oberfläche. Da das Effekt der Veralterung ein Firmengeheimnis ist, hoffen wir, dass Sie die Vorenthaltung weiterer Informationen über die Beschreibung der Technologie verzeihen.
Siehe Beispiele von Gemälde-Reproduktionen in unserem Studio gealtert und spröde.
Komposition Nr. II, Rot und Blau, 1929
Komposition mit Rot und Blau, 1933
Komposition in Weiß, Schwarz und Rot, 1936
Komposition in Gelb, Blau und Weiß, I, 1937
Komposition in Rot, Blau und Gelb, c.1937/42
Broadway Boogie Woogie, c.1942/43
Gemälde Titel:Death of the Virgin, c.1462
Künstler:Andrea Mantegna (c.1431-1506)
Prado Museum Madrid Spain
Originalgröße:54.5 x 42 cm
Gemälde Reproduktion sind vollständig handgemalt mit Öl auf leere leinwand.
Erzeugung Zeit:Ihre Mantegna Handgemalte Reproduktion must not be rushed as it need time for reaching the high quality and precision and also for getting dry. Depending of the complexity and the details of the painting, we need of 3-4 weeks for creation of the painting.
Versand:We not frame oil painting reproductions. The Handgemalte Reproduktion is expensive product and the risk of damages during transport of stretched on a frame painting is too high.Death of the Virgin" by Mantegna is unframed and will be shipped rolled up in postal tube.
You can check the estimate shipping cost of your order in the shopping cart screen.
We create our paintings only with museum quality. Our Academically educated European painters never allow compromise with the quality and the details. TOPofART not work with Far East wholesalers with poor quality.
The upper part of this work was mutilated before it reached the Prado. The missing section represented Christ - enclosed in a sort of wrapping of clouds spangled with cherubim against a background of a vault in the architectural style of Alberti - receiving the soul of the Virgin. A fragment has been found in the Vendeghini Collection in Ferrara. Therefore we can reconstruct the work, aided by the knowledge of a similar iconographic solution in the mosaic of the Mascoli Chapel in St. Mark's, Venice. Various suggestions have been proposed for the relationship between this picture and the mosaic, but critics now believe that the mosaic was a derivation from the Madrid panel, which from its style may be dated about 1460. There is no exact documentation on the work, but it is probable that it was part of the decoration of the chapel in the Castello di St. Giorgio, which Mantegna began for the Gonzaga family in about 1459 and which also included the beautiful panels now in the Uffizi. In the 19th century these were reunited to form a triptych, with the “Adoration of the Magi” in the centre, and the “Circumcision” and the “Ascension” at the sides. By 1460, Mantegna had completed his youthful Paduan experience and was preparing for his masterpiece in the Camera degli Sposi in Mantua. In our small panel the virtuosity of the epic narrator is transformed into an emotional tension that finds expression in the highly composed structure of the circle of Apostles around the bier (only broken by the figure leaning forward and swinging a thurible over the body of the Virgin), and in the chromatic force of every detail. It was the mellowness of colour and perhaps the crystalline luminosity of the landscape elements (a dam on the lake of Mantua?) that suggested Bellini as an author to Adolfo Venturi. This unsustainable hypothesis had a reasonable aspect. It is in the five years between 1456 and 1460 that Bellini was observing Mantegna most attentively, as is proven by his “Transfiguration” in the Museo Correr, which was considered to be by Mantegna.