"Rudolf II of Habsburg as Vertumnus" by Giuseppe Acrimboldo (1590) DIMENSIONS • 9" x 12" (Image: 7.5" x 9.25") • 12" x 16" (Image: 10" x 12.31") • 16" x 20" (Image: 13" x 16") • 20" x 24" (Image: 16" x 19.69") • 24" x 30" (Image: 19" x 23.38") Archival Inkjet on Fine Art Paper Smooth Surface - Matte Finish - Inset Borders ABOUT THE ARTWORK ----------------------------- Giuseppe Arcimboldo's most famous portrait, depicting the Holy Roman Emperor Rudolf II in the guise of Vertumnus; the Roman god of the changing seasons, plant growth, gardens and fruit trees. All the sumptuous fruits and vegetables of the four seasons harmonize in the person of the sovereign; the ultimate source of all prosperity in the empire. ART-CENTRIC DESIGN ----------------------------- Vintage art is not standardized. The original works are usually too long, or too short, to neatly fill a store-bought frame. Most shops arbitrarily crop the artwork to match, leading to claustrophobic prints with missing or partial elements. These modifications — sometimes trivial, sometimes ludicrous — are not always shown in the product photos. We believe that the purpose of art is not to fill a frame; it is the purpose of a frame to showcase the art. Our prints have inset borders that make up any differences in proportion between the artwork and a standard frame, so that you can experience the art as the artist intended. They look sharp in beveled mats, may be float mounted, or inserted directly into standard frames; the borders providing a mat-like accent around the image. There are many styles from which to choose. Framing is a fun, creative process that enhances the artwork and livens your space for years to come. Should you like any advice, feel free to reach out. CUSTOMIZATION AND IMAGE REQUESTS ----------------------------- We are happy to customize our prints to fit your frame. Borderless prints may require the artwork to be cropped to fit a new aspect ratio. In such cases, we will provide a mockup to ensure that the final product meets with your approval. If you’re looking for an artwork that is not in our catalog, feel free to ask if we can provide it. We will print any public domain or openly licensed image that is available in high resolution. MUSEUM QUALITY ----------------------------- Giclée process prints are the gold standard in fine art reproduction. We use a matte finish, cotton fiber paper to maximize detail while eliminating glare. Our prints display a wide color gamut, deep blacks and beautiful tonal transitions. Produced using only archival materials, they will not fade or yellow, but maintain their original quality for as long as you own them. HANDMADE DECLARATION ----------------------------- To assure artistic quality, all of our production and design is strictly in-house. Every print has been proofed, calibrated and inspected for defects. We do not drop ship, resell or make use of third-party production partners. SHIPPING AND PACKAGING ----------------------------- All orders ship within one business day via USPS First Class, Priority Mail or Priority Mail Express. Sizes 9” x 12” and 12” x 16” ship in a flat configuration, unless combined with larger prints, which require tubes. We will replace any lost or damaged items at no expense to you. HAPPINESS GUARANTEE ----------------------------- We will promptly address any issues that may arise with your order. If you are unhappy with your print for any reason, you are welcome to return it for a full refund.
Delacroix led the Romantic movement focusing his large, colorful canvases on emotion, exoticism, and the sublime.
Claude Gellee, called Claude Lorrain (1604/05-1682) Landscape with Dancing Satyrs and Nymphs
Comic Creator Honoré Daumier
Explore arthistory390's 19700 photos on Flickr!
Veronese is one of the most famous master painters and draughtmen of the late, Venetian Renaissance.
Download Image of John Everett Millais The Black Brunswicker. Free for commercial use, no attribution required. John Everett Millais: The Black Brunswicker. Public domain photograph of 19th-century painting, free to use, no copyright restrictions image - Picryl description. Dated: 1860. Topics: pre raphaelite, art, paintings, 1860 oil on canvas paintings, 1860 paintings of people, 19th century domestic interiors in painting, 19th century military life in painting, 19th century paintings of people with dogs, 19th century paintings of soldiers, black brunswickers, chiaroscuro history paintings, kabedon, kate perugini, kate perugini as a model, man and woman in art, military people and civilians in art, military uniforms in the 19th century, military uniforms of the napoleonic wars, paintings by john everett millais, paintings in the lady lever art gallery, paintings of couples in love, paintings of couples in rooms, paintings of standing couples, people in braunschweig in art, skull and crossbones military symbol, 19th century, pictures, classical, high resolution, couple, dog
Sapho à Leucate attire tous les regards au salon de 1801 par son atmosphère nocturne, sa poésie et l'harmonie de ses bleus profonds. Le peintre mêle deux Sapho : la poétesse grecque de l'île de Lesbos, et la cithariste qui se jette du haut du rocher...
Peer to Michelangelo and Leonardo, Raphael produced many masterpieces before dying at age 37. His influence has only grown in the 500 years since his untimely death.
Enjoy a gallery of famous Kazimir Malevich paintings covering abstract shapes, portraits and contemporary landscape paintings.
Bestel Madame Moitessier, Jean Auguste Dominique Ingres... als print. Kies zelf de maat en het materiaal. Snel geleverd, hoge kwaliteit.
The Seasons by Czech artist Alfons Mucha, 1896. These four painted panels are the original set of what was to become many, in a widely varied series.
Jacopo Tintoretto, his more than sixty vast canvasses in the Scuola di San Rocco in Venice showcase his dynamic somewhat sketchy brilliantly speedy brushwork
Gustave Courbet 1819-1877 Frankrijk
From the Swallowtail Garden Seeds collection of botanical photographs, paintings, and illustrations. We hope you will enjoy these images as much as we do.
Tiziano / Tizian / Titian (Tiziano Vecellio), Pieve di Cadore um 1485/90 - Venedig 1576 Tityos / Tityus (ca. 1565) Museo del Prado, Madrid In his Metamorphoses Ovid recounts the torments of the giant Tityus, whose punishment for having attempted to rape the goddess Leto was to have two vultures devouring his continually regenerating liver for eternity. This work is Titian´s own late repetition of the original, painted by him for Mary of Hungary as part of a series of Furies. It was conceived as a warning for those who dared to challenge imperial power during a critical moment of confrontation with Protestant princes. At individual level, only Tityus could boast a prestigious precedent: the remarkable drawing by Michelangelo which the artist gave to Tommasso de’ Cavalieri in 1532 along with a drawing of the Rape of Ganymede . Like other artists before him, Michelangelo believed that classical statuary provided a suitable formal repertoire for recreating ancient myths, particularly those which - like Tityus - lacked an established iconography; and art historians have pointed to several sources of inspiration for the anatomy of the giant, including the Falling Gaul and Laocoön , which was thence-forth to become the touchstone for any painter tackling the Furias. The drawing shows the unsullied body of Tityus before his liver is attacked by the rapacious bird, a feature that distinguishes it from later representations, especially in the seventeenth century, when artists vied to highlight the violence of the scene. This, together with the gesture of his left arm, raised as thought to drive the bird away, make the Michelangelo’s Tityus a tribute to bravery rather than to suffering, as Paul Joannides has rightly noted. There has been much speculation regarding the influence of Michelangelo on Titian’s painting, which may explain why Titian painted an eagle pecking at Tityus’ liver, when the literary sources refer to a vulture. But there are also significant differences. Titian’s is clearly the more dramatic of the two; here the bird is actually pecking at the giant’s wound, whereas Michelangelo captures an earlier moment, when Tityus’ body was still unsullied. Source of this extract: Museo del Prado
Study at Pontoise, 1878 #impressionism #camillepissarro
