Jan Brueghel d. Ä.:
Painting "Return from the Market", Framed

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Jan Brueghel d. Ä.:
Painting "Return from the Market", Framed

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Limited, 950 copies | Original Dietz replica | Oil on copper | Framed | Format 27 x 34 cm (H/W)

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Jan Brueghel d. Ä.: Painting "Return from the Market", Framed

The Flemish painter (1568-1625), son of Pieter, the Senior. Because of the preferred motives, he was also called Flower-Brueghel, and because of the soft shades, also Velvet-Brueghel.
Original: Lover Saxony Land Museum, Hannover.

Original Dietz replica in 62 colors. Oil on copper. Limited edition of 950 copies. Format 27 x 34 cm (H / W).

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In order to distinguish between them, different families of Bruegel were given nicknames that characterized their work. So Jan Brueghel the Elder was called the Velvet - or Flower Brueghel. Indeed, his flower bouquets belonged to the most beautiful pieces of the Dutch painting. He composed an illusionistic flower paradise with his masterful, accurate rendition of flower shapes and colors of all seasons. Thanks to his education in miniature painting, he managed to represent the beauty of the flowers in great detail.

Jan Brueghel was the second son of Pieter Bruegel the Elder. Born in 1568 in Brussels. After his apprenticeship with Coninxloo he went to Italy and was admitted to the Antwerp Guild of St. Luke in 1597. Here thanks to his work he made friends with Peter Paul Rubens. The highest point of his career was a position of the court painter However, the highlight of his career was the position of a painter at the court of Albrecht, the Archduke of Austria.

Although Jan Brueghel took up the themes of his father’s works, for example the landscapes or peasant scenes, however, he never achieved their moralizing effect. He was especially skillful in the use of color: the velvet light effects of a unique color palette were achieved thanks to the light and dark contrasts, while the magnificent flower still lives infatuated by their clear composition and color.

On January 12, 1625 Jan Brueghel the Elder, a highly respected painter in Antwerp, died of cholera.

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.

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

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