François Boucher, 1748 - Sevgi Bulağı - təsviri sənət çapı

270 ildən çox yaşı olan bu sənət əsəri haqqında bilməli olduğunuz şeylər

The Fountain of Love is a painting created by the painter François Boucher. The painting has the following size: 294,6 x 337,8 sm and was manufactured on the medium oil on canvas. The piece of art is included in the J. Paul Getty Muzeyi rəqəmsal kolleksiyada yerləşir Los Angeles, Kaliforniya, Amerika Birləşmiş Ştatları. With courtesy of: The J. Paul Getty Museum (ictimai domen lisenziyası).: . Bundan əlavə, uyğunlaşma var landşaft şəkil nisbəti ilə format 1.2: 1, which implies that the length is 20% longer than the width. The painter François Boucher was an artist, whose style was primarily Rococo. The European artist was born in 1703 and passed away at the age of 67 in the year 1770 in Paris.

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For every product we offer a range of different sizes & materials. You can choose your favorite size and material among the following preferences:

• Kətan: The canvas direct print is a printed canvas stretched on a wooden stretcher. The advantage of canvas prints is that they are relatively low in weight. That means, it is easy to hang up the Canvas print without additional wall-mounts. That is why, a canvas print is suitable for any type of wall.
• Alüminium dibond çap: These are metal prints on aluminium dibond with an outstanding depth. For your Print On Aluminum Dibond, we print your work of art onto the aluminium white-primed surface. The bright sections of the artpiece shine with a silky gloss but without glare. The colors are luminous, fine details appear clear and crisp.
• Akril şüşə çap: A glossy print on acrylic glass, which is often referred to as a fine art print on plexiglass, will convert the original work of art into beautiful décor. The work of art is being manufactured with state-of-the-art UV printing machines. The result of this are stunning, vibrant color tones.
• Çap edilmiş poster (kətan materialı): Our poster print is a UV printed sheet of cotton canvas paper with a granular surface structure, which resembles the actual work of art. The poster print is designed for putting your art print using a personal frame. Please bear in mind, that depending on the size of the poster print we add a white margin 2-6cm round about the print motif, which facilitates the framing with your custom frame.

Disclaimer: We try everything in order to describe our art products as accurately as possible and to demonstrate them visually on the respective product detail pages. Please bear in mind that some pigments of the print products, as well as the printing may differ slightly from the image on the device's screen. Depending on your screen settings and the nature of the surface, colors might not be printed as realistically as the digital version on this website. Considering that all the fine art prints are processed and printed by hand, there may also be minor differences in the size and exact position of the motif.

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Original artwork information by the museum's website (© Copyright - by The J. Paul Getty Museum - J. Paul Getty Muzeyi)

A youth with a flute gazes languidly at his companionwhile another youth offers a shell full of fresh water to a dainty maiden in a diaphanous gown of purple-gold and red satin. A rosy-cheeked, barefoot woman dressed in red silk looks longingly at the man with the flute. Suitors woo and babies frolic in an idyllic setting of lush, green, leafy trees under a pale blue sky with gray-pink clouds.

By blending sensuality, covert eroticism, and refinement, pastoral paintings such as these brought the world of aristocratic society and amorous games to the countryside. The pastoral genre in which François Boucher excelled delighted his patrons, answering the contemporary nostalgia for nature and excluding coarse reality.

The Fountain of Love,dated 1748, originally served as a finished cartoon for a tapestry, one of a series of six known as the Noble Pastorales. Beginning in 1755, the Beauvais tapestry manufactory wove the tapestries directly over the cartoons. Eventually, the cartoons were cut up into sections and sold separately. The tapestries remain, showing scholars how large the cartoons were and what is missing from them now.