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Max Liebermann: Picture "Gartencafé on Elba" (1902)

Max Liebermann:
Picture "Gartencafé on Elba" (1902)

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Limited, 950 exemplars | original Dietz replica | oil on canvas | on wedge frame | genuine wood framing | format 59 x 72 cm (H/W)

http://www.arsmundi.com/

Max Liebermann: Picture "Gartencafé on Elba" (1902)

This painting was commissioned by Alfred Lichtwark, the first director of Hamburger Kunsthalle. Liebermann spent especially a whole summer in the city in order to find themes for the local "Collection of painting from Hamburg".

Original: 1902, oil on canvas, Christie’s Images Ltd.

Original Dietz replica. Oil on canvas in 80 colors. Limited edition, 950 exemplars. Each canvas replica is stretched as the original on a wedge frame, so that you can readjust the stretching in case of possible fluctuations of room temperature and air humidity. Framed with dark genuine wood strip. Format incl. frame ca. 59 x 72 cm (H/W).

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Max Liebermann with Lovis Corinth and Max Slevogt, formed the triumvirate of German Impressionism and his life with numerous honors was considered. Through his commitment, unpretentious simplicity art to the life and work of the ordinary people, Lieberman had to compete for first of all recognition.

A celebrated painter of the turn of the century Liebermann was only when he addressed himself increasingly motifs and scenes from the life of the upper middle class. Since 1897 he was Professor of the Royal Academy and member of the jury of the Academy exhibitions. In 1899 he founded the Berlin Secession and made it the most important German art institution. 1920 Liebermann President of the Prussian Academy and in 1932 its Honorary President.

Due to his Jewish ancestry, he was ostracized and forced to resign from all offices by the Nazis. When he saw the torch parade on the occasion of Hitler's seizure of power by the window of his apartment at the Brandenburg Gate, Liebermann said: “I cannot eat as much as I want to throw up." He died after a long illness at the age of 87 in 1935.

For Max Liebermann, nature was always also a made by people (and of them inhabited) paradise. He found his motifs in gardens, parks and civic places of entertainment. Lieberman is a master of the staged light, he - often through a canopy is often broken - dropping on his scenes. The single, penetrating to the floor beams which have entered as "Liebermannsche sun-spots" in the history of art are distinctive.
The mold is usually taken directly from the original, so that the replica reproduces even the finest details. After casting the replica, using the most appropriate method, the surface is polished, patinated, gilded or painted according to the original.

A replica of ars mundi is a recognizable image of the original.

Representation of typical scenes of daily life in painting, which can distinguish between peasant, bourgeois and courtly themes.

The genre reached its peak and immense popularity in the Dutch painting of the 17th century. In the 18th century, especially in France, the courtly and gallant painting comes to the fore while in Germany the bourgeois character was emphasised.

Günter Dietz developed a revolutionary method for the authentic reproduction of images, where not the usual printing inks are used, but the same original colors used by the artist. Depending on the artist's painting technique, up to 180 (!) various paint applications need to be applied in order to achieve a perfect replica of the original that also sensationally reflects the "relief" and pastosity of colour composition.

Here are the examples of  'Couple at the Garden Table' by August Macke:

Dietz-replica Inking

Similarly, the material of the original carrier, such as reproduction on canvas, paper, wood, copper, parchment is always used.

The result is a perfect, gridless reproduction that comes very close to the original in expressiveness and effect. Even museum specialists often can not distinguish the replica from the original. Therefore, a special security notice must be inserted, which is visible only under X-rays.

The circulation of most of the Dietz replicas is limited, usualy to 950 copies. Each canvas replica is stretched onto a frame as the original, so you can retighten the canvas according to variations in room temperature and humidity. High-quality solid wood strips round off the image of every Dietz replica.

Numerous masterpiece paintings of Rembrandt, Caspar David Friedrich, Claude Monet, Gustav Klimt and various others have been recreated by the Dietz Offizin. Famous modern artists such as Pablo Picasso, Salvador Dalí, Max Ernst, Friedensreich Hundertwasser, Joan Miró, Marc Chagall used the method developed by Günter Dietz to have replicas of their works produced.

Press commentaries:

“The Dietz System provides images as good as the originals. What the electronics did with the invention of Hi-Fi and stereo for music playback - here the graphic technology made up for visual art.“ (Die Zeit)

“In theory there is no difference between the original and the Dietz replica. They should not be called reproductions, but facsimiles.“ (Newsweek)

“For art printers all over the world remains unrealizable to this day, what managed only Dietz with the help of printing technology: The perfect reproduction of painted works. “ (Der Spiegel)

Konrad Adenauer at the presentation of Dietz replica of the frieze "To the young St. Peter" (Bundeshaus Bonn)

Konrad Adenauer in the Dietz Offizin

Günter Dietz (on the left) and Marino Marini

Günter Dietz and Marino Marini

The style of Impressionism that emerged in French painting in 1870 owes its name to the Claude Monet's landscape 'Impression, Soleil Levant'. After initial refusal it began a true triumphant advance.

Such painters as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in a bright, natural light.

Impressionism can be seen as a reaction to the academic painting. The emphasis was not on content with its strict rules of painting structure, but on the object as it appears at any given moment, in an often random cut out. The reality was seen in its whole color variety in natural lighting. The studio painting was replaced by the open-air painting.

The brightening of the palette and the dissolution of firm contours was accompanied by a new way of handling with color. Often, the colors were no longer mixed on the palette but side by side on the canvas so that the final impression lies in the eye of the beholder with a certain distance. In "Pointillism", (with such painters as Georges Seurat or Paul Signac) this principle was carried to the extreme.

Outside France, Impressionism was taken up by such painters as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.

In sculpture, the impressionism expressed itself only conditionally. In the works of Auguste Rodin, who is considered one of the main representatives, you can see a resolution of the surfaces in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.

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