Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Die Zerstörung des Tempels von Jerusalem - Francesco Hayez
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
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Beschreibung
Ein dramatisches Historienbild von Francesco Hayez aus dem Jahr 1867, das die Belagerung Jerusalems mit meisterhafter Komposition und düsteren, atmosphärischen Tönen darstellt.
Francesco Hayez, eine zentrale Figur der italienischen Romantik, vollendete dieses großformatige Historienbild im Jahr 1867. Das Werk stellt die Belagerung Jerusalems im Jahr 70 n. Chr. dar, ein Thema, das es dem Künstler ermöglichte, Konflikt, Verlust und menschliches Leid aus einer klassischen Perspektive zu erforschen. Hayez ordnet die Komposition um eine zentrale, kahle Mauer an, die als Barriere zwischen dem Chaos der römischen Soldaten und den verzweifelten Gestalten dient, die versuchen, dem herannahenden Feuer zu entkommen. Die Palette wird von gedämpften Erdtönen, Grau- und Schwarztönen dominiert, die den Rauch und die Trümmer der brennenden Stadt wirkungsvoll wiedergeben. Der Künstler verwendet einen theatralischen Umgang mit Licht, lenkt den Blick des Betrachters auf die zentralen Figuren, während er die Peripherie in Schatten und Dunst hüllt. Die Einbeziehung spezifischer historischer Details, wie der von einer Figur links gehaltenen Menora, bietet einen klaren narrativen Anker für die Szene. Hayez war bekannt für seine technische Präzision und seine Fähigkeit, komplexe, figurenreiche Kompositionen zu gestalten. In diesem Werk balanciert er die architektonische Strenge der Tempelstruktur mit den fließenden, hektischen Bewegungen der im Chaos gefangenen Menschen. Das Gemälde vermeidet übermäßige Sentimentalität und entscheidet sich stattdessen für eine kontrollierte, dramatische Darstellung eines historischen Ereignisses. Es bleibt ein bedeutendes Beispiel der italienischen akademischen Malerei des 19. Jahrhunderts, das das Interesse der Epoche an historischen Erzählungen und die technische Meisterschaft der menschlichen Form in Bewegung widerspiegelt.
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Die Zerstörung des Tempels von Jerusalem - Francesco Hayez
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Francesco Hayez
The Kiss is a political painting disguised as a love scene. Hayez painted it in 1859, the year Piedmont and France allied against Austria, and the couple's medieval costumes encode a message about Italian unification that his audience understood immediately. He painted three versions. In the 1920s, Perugina, the chocolate manufacturer, adapted the image for the box of its "Baci" chocolates, where it remains today.
Hayez was born in Venice in 1791, the youngest of five sons. His father was a fisherman of French origin; his mother came from Murano. The family was poor enough that the boy was placed with an uncle, the antiquarian Giovanni Binasco, who hoped to train him as a restorer. Instead, Hayez won a scholarship to the Accademia di San Luca in Rome in 1809, where he spent long hours studying Raphael in the Vatican Stanze and visiting the workshop of the sculptor Antonio Canova.
He settled in Milan in 1820 and became the leading figure of Italian Romanticism. His large historical paintings, depicting subjects from medieval Italian history, functioned as allegorical commentary on the Risorgimento, the movement for Italian unification. The use of historical costume allowed him to evade Austrian censorship while communicating patriotic ideas that his Milanese audience decoded without difficulty.
In 1850 he became director of the Brera Academy, a position he held for decades. He rarely signed or dated his works, and often painted the same composition multiple times with minimal variation, which has complicated scholarly assessment. He died in Milan in 1882, at ninety, having witnessed the unification he had painted.
Hayez was born in Venice in 1791, the youngest of five sons. His father was a fisherman of French origin; his mother came from Murano. The family was poor enough that the boy was placed with an uncle, the antiquarian Giovanni Binasco, who hoped to train him as a restorer. Instead, Hayez won a scholarship to the Accademia di San Luca in Rome in 1809, where he spent long hours studying Raphael in the Vatican Stanze and visiting the workshop of the sculptor Antonio Canova.
He settled in Milan in 1820 and became the leading figure of Italian Romanticism. His large historical paintings, depicting subjects from medieval Italian history, functioned as allegorical commentary on the Risorgimento, the movement for Italian unification. The use of historical costume allowed him to evade Austrian censorship while communicating patriotic ideas that his Milanese audience decoded without difficulty.
In 1850 he became director of the Brera Academy, a position he held for decades. He rarely signed or dated his works, and often painted the same composition multiple times with minimal variation, which has complicated scholarly assessment. He died in Milan in 1882, at ninety, having witnessed the unification he had painted.
Unsere Funktionen
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Besondere Eigenschaften
Jedes Solis-Stück wird auf Bestellung mit archivtauglichen Materialien in Galeriequalität gefertigt, die für eine lange Lebensdauer ausgelegt sind.
- Giclée-Druck in Museumsqualität für satte, lichtbeständige Farben
- Mattes Fine-Art-Papier in Archivqualität, FSC-zertifiziert
- Mehrere Größen und Rahmenoptionen verfügbar
- Rahmen in Schwarz, Naturholz, dunklem Holz oder Weiß
- Gerahmte Drucke werden fertig zum Aufhängen geliefert
Pflege & Reinigung
Damit Ihr Kunstwerk optimal aussieht:
- Vorsichtig mit einem weichen, trockenen Tuch abstauben
- Längere direkte Sonneneinstrahlung vermeiden
- Niemals flüssige Reiniger auf Druck- oder Leinwandoberflächen verwenden
- An einem trockenen Ort bei Raumtemperatur aufbewahren
- Drucke mit sauberen, trockenen Händen anfassen
Material & Größe
Museums-Giclée-Druck auf FSC-zertifiziertem, archivbeständigem, mattem Papier, wahlweise mit Rahmen oder als Leinwand.
- Papierformate: A4, A3, A2, A1, A0 und B2 (50×70 cm)
- Leinwand: XS (20×30 cm) bis Large (60×90 cm)
- Rahmen: Schwarz, Naturholz, dunkles Holz oder Weiß
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Premium Box Frame
From £85
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From £30
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From £135
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
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Biografie des Künstlers
Francesco Hayez
The Kiss is a political painting disguised as a love scene. Hayez painted it in 1859, the year Piedmont and France allied against Austria, and the couple's medieval costumes encode a message about Italian unification that his audience understood immediately. He painted three versions. In the 1920s, Perugina, the chocolate manufacturer, adapted the image for the box of its "Baci" chocolates, where it remains today.
Hayez was born in Venice in 1791, the youngest of five sons. His father was a fisherman of French origin; his mother came from Murano. The family was poor enough that the boy was placed with an uncle, the antiquarian Giovanni Binasco, who hoped to train him as a restorer. Instead, Hayez won a scholarship to the Accademia di San Luca in Rome in 1809, where he spent long hours studying Raphael in the Vatican Stanze and visiting the workshop of the sculptor Antonio Canova.
He settled in Milan in 1820 and became the leading figure of Italian Romanticism. His large historical paintings, depicting subjects from medieval Italian history, functioned as allegorical commentary on the Risorgimento, the movement for Italian unification. The use of historical costume allowed him to evade Austrian censorship while communicating patriotic ideas that his Milanese audience decoded without difficulty.
In 1850 he became director of the Brera Academy, a position he held for decades. He rarely signed or dated his works, and often painted the same composition multiple times with minimal variation, which has complicated scholarly assessment. He died in Milan in 1882, at ninety, having witnessed the unification he had painted.
Hayez was born in Venice in 1791, the youngest of five sons. His father was a fisherman of French origin; his mother came from Murano. The family was poor enough that the boy was placed with an uncle, the antiquarian Giovanni Binasco, who hoped to train him as a restorer. Instead, Hayez won a scholarship to the Accademia di San Luca in Rome in 1809, where he spent long hours studying Raphael in the Vatican Stanze and visiting the workshop of the sculptor Antonio Canova.
He settled in Milan in 1820 and became the leading figure of Italian Romanticism. His large historical paintings, depicting subjects from medieval Italian history, functioned as allegorical commentary on the Risorgimento, the movement for Italian unification. The use of historical costume allowed him to evade Austrian censorship while communicating patriotic ideas that his Milanese audience decoded without difficulty.
In 1850 he became director of the Brera Academy, a position he held for decades. He rarely signed or dated his works, and often painted the same composition multiple times with minimal variation, which has complicated scholarly assessment. He died in Milan in 1882, at ninety, having witnessed the unification he had painted.
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