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.
Johann I. Albrecht (Porträtstudie) – Jan Matejko
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
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Beschreibung
Eine fokussierte Porträtstudie von König Johann I. Albrecht des polnischen Historienmalers Jan Matejko, die den Monarchen mit direkter, ausdrucksstarker Pinselführung einfängt.
Diese Porträtstudie zeigt Johann I. Albrecht, den König von Polen, der von 1492 bis 1501 regierte. Jan Matejko, ein Maler, der für seinen Fokus auf polnische historische Persönlichkeiten bekannt ist, schuf dieses Werk als Teil seiner umfangreichen Serie, die die Monarchen Polens dokumentiert. Die Komposition konzentriert sich auf die Gesichtszüge und die königliche Kleidung des Souveräns und fängt ein Gefühl von individuellem Charakter ein, anstatt nur eine zeremonielle Darstellung zu bieten.
Das Motiv trägt ein dunkles, pelzbesetztes Gewand und eine dekorative Mütze, typisch für die Kleidung der damaligen Zeit, die Matejko für seine historischen Gemälde recherchierte. Die Pinselführung ist direkt und selbstbewusst und zeigt die Fähigkeit des Künstlers, Textur und Licht auf Haut und Stoff darzustellen. Der Hintergrund bleibt neutral, was die Aufmerksamkeit des Betrachters auf den Ausdruck des Monarchen lenkt. Matejko schuf oft diese kleineren Studien, um die Ähnlichkeiten der Figuren zu verfeinern, bevor er sie in größere, mehrfigurige Kompositionen einbezog.
Matejko war eine zentrale Figur in der polnischen Kunstszene des 19. Jahrhunderts. Sein Werk versuchte oft, seine Zeitgenossen an die Geschichte der polnisch-litauischen Gemeinschaft zu erinnern. Diese spezifische Studie zeigt sein technisches Können in der Porträtmalerei und sein Engagement für historische Genauigkeit. Die Palette ist zurückhaltend und verwendet Erdtöne und tiefe Schatten, um die Form des Gesichts zu definieren. Indem er sich auf die psychologische Präsenz des Königs konzentriert, bietet Matejko eine humanisierte Sicht auf eine historische Figur, die oft nur in formellen, steifen Darstellungen zu sehen ist. Dieser Druck fängt die Nuancen des originalen Ölgemäldes ein und bewahrt die Textur der Pinselstriche und die subtilen Tonverschiebungen, die die Gesichtszüge des Königs definieren.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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Johann I. Albrecht (Porträtstudie) – Jan Matejko
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Jan Matejko
Nietzsche, tipping into psychosis in Turin in January 1889, sent Matejko an unsolicited letter. That a philosopher on the edge of madness would think to write to a Polish history painter says something about how far Matejko's reputation had travelled by the end of his life.
Matejko was born in Krakow in 1838 to a Czech father and a half-German, half-Polish mother. Despite being only one-quarter Polish by blood, his household was fiercely patriotic: Polish books, portraits of Polish heroes, and a brother who followed General Jozef Bem into the Hungarian Revolution of 1848 (and died in battle). He enrolled at the Krakow Academy of Fine Arts at fourteen, studying under Wojciech Stattler. He never mastered a foreign language and struggled even with Polish, which made the public appearances demanded of him throughout his career an ordeal.
His ambition was to paint Polish history on a monumental scale. Stanczyk (1862) showed the royal jester alone with the news of a military defeat, a painting that reads as an editorial cartoon stretched to the size of a wall. Battle of Grunwald (1878) and Rejtan (1866) followed, each canvas an argument about national identity dressed as historical spectacle. Wilhelm von Kaulbach's method of "historical symbolism", which prioritised interpretation over documentary accuracy, shaped Matejko's approach. His brother Franciszek, a historian at the Jagiellonian Library, fed him archival detail.
As director of the Krakow School of Fine Arts, he trained over eighty students. Maurycy Gottlieb, Jacek Malczewski, Jozef Mehoffer and Stanislaw Wyspianski all passed through his studio; several became leading figures in the Young Poland movement, earning Matejko the title "Father of Young Poland". In 1887 he attended the opening of Queen Jadwiga's sarcophagus to sketch her skull for a portrait. He died in 1893, aged fifty-five.
Matejko was born in Krakow in 1838 to a Czech father and a half-German, half-Polish mother. Despite being only one-quarter Polish by blood, his household was fiercely patriotic: Polish books, portraits of Polish heroes, and a brother who followed General Jozef Bem into the Hungarian Revolution of 1848 (and died in battle). He enrolled at the Krakow Academy of Fine Arts at fourteen, studying under Wojciech Stattler. He never mastered a foreign language and struggled even with Polish, which made the public appearances demanded of him throughout his career an ordeal.
His ambition was to paint Polish history on a monumental scale. Stanczyk (1862) showed the royal jester alone with the news of a military defeat, a painting that reads as an editorial cartoon stretched to the size of a wall. Battle of Grunwald (1878) and Rejtan (1866) followed, each canvas an argument about national identity dressed as historical spectacle. Wilhelm von Kaulbach's method of "historical symbolism", which prioritised interpretation over documentary accuracy, shaped Matejko's approach. His brother Franciszek, a historian at the Jagiellonian Library, fed him archival detail.
As director of the Krakow School of Fine Arts, he trained over eighty students. Maurycy Gottlieb, Jacek Malczewski, Jozef Mehoffer and Stanislaw Wyspianski all passed through his studio; several became leading figures in the Young Poland movement, earning Matejko the title "Father of Young Poland". In 1887 he attended the opening of Queen Jadwiga's sarcophagus to sketch her skull for a portrait. He died in 1893, aged fifty-five.
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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
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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.
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Biografie des Künstlers
Jan Matejko
Nietzsche, tipping into psychosis in Turin in January 1889, sent Matejko an unsolicited letter. That a philosopher on the edge of madness would think to write to a Polish history painter says something about how far Matejko's reputation had travelled by the end of his life.
Matejko was born in Krakow in 1838 to a Czech father and a half-German, half-Polish mother. Despite being only one-quarter Polish by blood, his household was fiercely patriotic: Polish books, portraits of Polish heroes, and a brother who followed General Jozef Bem into the Hungarian Revolution of 1848 (and died in battle). He enrolled at the Krakow Academy of Fine Arts at fourteen, studying under Wojciech Stattler. He never mastered a foreign language and struggled even with Polish, which made the public appearances demanded of him throughout his career an ordeal.
His ambition was to paint Polish history on a monumental scale. Stanczyk (1862) showed the royal jester alone with the news of a military defeat, a painting that reads as an editorial cartoon stretched to the size of a wall. Battle of Grunwald (1878) and Rejtan (1866) followed, each canvas an argument about national identity dressed as historical spectacle. Wilhelm von Kaulbach's method of "historical symbolism", which prioritised interpretation over documentary accuracy, shaped Matejko's approach. His brother Franciszek, a historian at the Jagiellonian Library, fed him archival detail.
As director of the Krakow School of Fine Arts, he trained over eighty students. Maurycy Gottlieb, Jacek Malczewski, Jozef Mehoffer and Stanislaw Wyspianski all passed through his studio; several became leading figures in the Young Poland movement, earning Matejko the title "Father of Young Poland". In 1887 he attended the opening of Queen Jadwiga's sarcophagus to sketch her skull for a portrait. He died in 1893, aged fifty-five.
Matejko was born in Krakow in 1838 to a Czech father and a half-German, half-Polish mother. Despite being only one-quarter Polish by blood, his household was fiercely patriotic: Polish books, portraits of Polish heroes, and a brother who followed General Jozef Bem into the Hungarian Revolution of 1848 (and died in battle). He enrolled at the Krakow Academy of Fine Arts at fourteen, studying under Wojciech Stattler. He never mastered a foreign language and struggled even with Polish, which made the public appearances demanded of him throughout his career an ordeal.
His ambition was to paint Polish history on a monumental scale. Stanczyk (1862) showed the royal jester alone with the news of a military defeat, a painting that reads as an editorial cartoon stretched to the size of a wall. Battle of Grunwald (1878) and Rejtan (1866) followed, each canvas an argument about national identity dressed as historical spectacle. Wilhelm von Kaulbach's method of "historical symbolism", which prioritised interpretation over documentary accuracy, shaped Matejko's approach. His brother Franciszek, a historian at the Jagiellonian Library, fed him archival detail.
As director of the Krakow School of Fine Arts, he trained over eighty students. Maurycy Gottlieb, Jacek Malczewski, Jozef Mehoffer and Stanislaw Wyspianski all passed through his studio; several became leading figures in the Young Poland movement, earning Matejko the title "Father of Young Poland". In 1887 he attended the opening of Queen Jadwiga's sarcophagus to sketch her skull for a portrait. He died in 1893, aged fifty-five.
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