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Bartolomé E. Murillo: painting "The pie eaters" (approx. 1675)

Bartolomé E. Murillo:
painting "The pie eaters" (approx. 1675)

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Limited, 950 pieces | Original dietz replica | Oil on canvas | On stretcher | Real wood bar | Size: approx. 80 x 68 cm (W / H)

http://www.arsmundi.com/

Bartolomé E. Murillo: painting "The pie eaters" (approx. 1675)

Bartolome Murillo was a Spanish painter and the most important representative of the school of Seville, where he has worked his whole life.Its representations are known mainly from poor, tattered, but graceful street children.

Original: around 1675, oil on canvas, 123,6 x 102 cm, New picture gallery Munich.

Original dietz replica. Oil on canvas in 123 colours. Limited edition of 950 pieces. Each canvas replica is taut as the template on stretcher frames so you can tighten the canvas at room temperature and humidity fluctuations.Framed with gold real wooden strip. Size: incl. frame approx. 80 x 68 cm (H/W).

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On 01/01/1618 Bartolomé Esteban Perez was baptized in Seville. Ten year old came after the death of his father in the doctrine of Juan del Castillo. His earliest works, however, testify with their austere naturalism of the influence of art Juan de las Roelas and Francisco de Herrera the Elder Important impetus comes from his painting of the art Francisco de Zurbarán and Jusepe Ribera.

The eleven pictures of legend for the cloister of the former monastery of S. Francisco, Sevilla were the first independent work of 1645-46. New orders gained him to create his special way through soft lighting, a charming atmosphere. For the Cathedral of Seville, he painted three paintings.

In addition to the religious pictures, Murillo designed but also genre paintings, which were in great demand. The subtle light and shade Guide and a warm colour scheme made this painting to sought-after works of art.

Around 1650, Murillo received important suggestions from the works of Raphael, Peter Paul Rubens and Anthonis van Dycks. Soft contours, soft-toned colours and the Golden veil of light give the title "estilo vaporoso" his distinctive style.

The success of the painter was underlined by his appointment to the President of the Academy of Arts of Seville he co-founded 1660.

At the age of 64 years, Bartolomé Esteban Murillo died on the 3.4.1682 in his hometown. He was the principal representative of the Baroque and one of the most famous Spanish painter. Many of his works can be seen today in the great European museums.

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

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.

Epochal term for the art of the 17th century. Baroque art style that emanated from Rome in 1600 permeated fine arts, literature and music practically all over Europe within a very short time and lasted until 1770 in the fine arts. The last phase is generally characterized by the rococo.

Characteristic features include: the pulsating movement of all forms, the abolition of boundaries between architecture, painting and sculpture, that resulted in typical for the era synthesis of the arts, and especially in specific handling of light, which became an important artistic component. The subordination of the part to the whole led to the emergence of a single and, at the same time, dynamic space, which comes into full effect in the magnificent buildings of its time.

The Baroque art, with its tendency towards greatness, magnificence and rushing abundance clearly reflects the desire for representation, which was a concern of secular and ecclesiastical, especially Catholic customers strengthened through Counter-Reformation of that time. In painting, characteristic features of the Baroque, are manifested in the altar and ceiling painting, history and portrait.

The area of the sculpture is typically represented by such artists as Anthony van Dyck, Peter Paul Rubens, Gian Lorenzo Bernini and others.

Related links:
Rococo

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.

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