Joseph Mallord William Turner, 1839 - Müasir Roma - Campo Peyvəndi - təsviri sənət çapı

"Modern Rome - Campo Vaccine" painted by the Romanticist artist Cozef Mallord Uilyam Turner şəxsi sənət iziniz kimi

The 19th century work of art was painted by Joseph Mallord William Turner in 1839. Sənət əsərinin versiyası aşağıdakı ölçüdə rənglənmişdir: 91,8 x 122,6 sm. Kətan üzərində yağ was applied by the British artist as the technique for the artpiece. Nowadays, this artpiece can be viewed in in the J. Paul Getty Muzeyi rəqəmsal kolleksiya. Məmnuniyyətlə bildiririk ki, ictimai work of art is supplied with courtesy of The J. Paul Getty Museum.Besides, the artpiece has the creditline: . In addition to that, the alignment is landscape with a side ratio of 4: 3, which implies that the length is 33% longer than the width. The painter Joseph Mallord William Turner was a European artist from the United Kingdom, whose artistic style can be classified as Romanticism. The Romanticist painter lived for a total of 76 il və ildə anadan olub 1775 Londonda, Böyük London, İngiltərə, Böyük Britaniya və 1851-cü ildə vəfat etdi.

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Hər bir məhsul üçün müxtəlif ölçülər və materiallar təklif edirik. Beləliklə, biz sizə aşağıdakı variantlardan birini seçməyə icazə veririk:

• Alüminium dibond çap (metal): An Aluminium Dibond print is a print material with an impressive depth. The non-reflective surface creates a fashionable look. The bright & white parts of the original artwork shine with a silk gloss but without any glare. The print on Aluminum Dibond is one of the most popular entry-level products and is a truly stylish way to display art prints, because it puts the viewer’s focus on the image.
• Kətan çapı: The UV printed canvas applied on a wooden frame. Canvas prints are relatively low in weight. This means, it is easy and straightforward to hang the Canvas print without any wall-mounts. A canvas print is suitable for any type of wall.
• Poster çapı (kətan materialı): The poster is a UV printed cotton canvas with a slight structure on the surface, which reminds the actual masterpiece. Please note, that depending on the absolute size of the poster we add a white margin of something between 2-6cm round about the print, which facilitates the framing with your custom frame.
• Parlaq akril şüşə çapı (əsl şüşə örtüyü ilə): An acrylic glass print, often denoted as a plexiglass print, will change the original work of art into beautiful décor. The major benefit of a plexiglass fine art print is that contrasts as well as artwork details will be more exposed thanks to the subtle tonal gradation in the print.

Hüquqi imtina: We try our utmost to depict the products as accurate as we can and to demonstrate them visually in our shop. Nonetheless, the pigments of the printed materials, as well as the printing may differ marginally from the presentation on the device's monitor. Depending on the screen settings and the quality of the surface, color pigments may not be printed one hundret percent realistically. In view of the fact that the art prints are processed and printed manually, there may as well be minor differences in the size and exact position of the motif.

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(© Müəlliflik hüququ - J. Paul Getty Muzeyi - J. Paul Getty Muzeyi)

Ten years after his final journey to Rome, Turner envisioned the Eternal City through a veil of memory. Baroque churches and ancient monuments in and around the Roman Forum seem to dissolve in iridescent light shed by a moon rising at left and a sun setting behind the Capitoline Hill at right. Amidst these splendors, the city's inhabitants carry on with their daily activities. The picture's nacreous palette and shimmering light effects exemplify Turner at his most accomplished.

When first exhibited at the Royal Academy in 1839 with its pendant, Ancient Rome; Agrippina Landing with the Ashes of Germanicus, the painting was accompanied by a modified quotation from Lord Byron's masterpiece, Childe Harold's Pilgrimage (1818): "The moon is up, and yet it is not night, / The sun as yet divides the day with her." Like the poem, Turner's painting evokes the enduring sublimity of Rome, which had been for artists throughout history less a place in the real world than one in the imagination.

The painting is in a remarkable state of preservation and remains untouched since it left Turner's hands.