Georg von Dillis:
Picture "The Tegernsee"

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430,00 EUR

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Limited, 950 pieces | Original Dietz replica | Oil on canvas | On stretcher | Wooden frames | Size approx. 46 x 59 cm (H / W )

http://www.arsmundi.com/

Georg von Dillis: Picture "The Tegernsee"

Original: Neue Pinakothek, Munich.

Limited edition 950 pieces. Each canvas is stretched as the template on stretcher replica so you can tighten the canvas at room temperature and humidity fluctuations. With solid wood frame. Size approx. 46 x 59 cm (H / W ).

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As a 6-year old, Dillis, born in Grüngiebing in Oberbayern on 26.12.1759 got scientific education at the gymnasium. He owes this privilege as the oldest of the 11 children, to Maximilian III. Joseph prince-elector of Bavaria. He showed soon his artistic skills, however, after the death of his benefactor, he dedicated himself to the study of philosophy and theology. In 1782, he received his consecration as secular priest and dedicated then again to drawing and later, to landscape and portrait painting. As he taught himself drawing, he became acquainted to distinguished families.

From his trips, numerous water colors of Bavarian mountains and surroundings resulted. Dillis was of special importance for the Munich painting. With dexterous technique, he converted his careful study of nature into images. Thus, he cast away the eclecticism of late rococo, finding a new naturalism. His special strength was drawing. In his works are heralded already the later Munich mood landscapes.

Always paying homage to his country in his paintings, Dillis died on 28.9.1841 in Munich.

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

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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