Fine Art Poster
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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 Gefangennahme Christi - Hieronymus Bosch
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
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Beschreibung
Dieses Tafelbild von Hieronymus Bosch mit dem Titel *Die Gefangennahme Christi* fängt den Moment der Gefangennahme Jesu im Garten Gethsemane ein. Das Werk zeichnet sich durch seine symbolische Bildsprache und erdige Farbpalette aus.
Hieronymus Bosch, ein niederländischer Maler, der während der Frühniederländischen Periode tätig war, schuf dieses Tafelbild, heute bekannt als *Die Gefangennahme Christi*, um 1498. Das Gemälde zeigt den Moment der Gefangennahme Jesu im Garten Gethsemane, umgeben von einer feindseligen Menge. Boschs unverwechselbarer Stil, gekennzeichnet durch seine symbolische und oft verstörende Bildsprache, zeigt sich in den Gesichtern und Ausdrücken der Figuren. Die Komposition konzentriert sich auf Christus, dessen Gesicht einen Ausdruck der Resignation vermittelt. Er ist umzingelt von einer Gruppe von Soldaten und Schaulustigen, deren Gesichter von Bosheit und Neugier verzerrt sind. Die Detailgenauigkeit des Künstlers ist in der Darstellung der Kleidung und Gesichtszüge der Figuren erkennbar. Die Farbpalette des Gemäldes wird von erdigen Tönen dominiert, mit einem goldenen Hintergrund, der eine dramatische Wirkung erzielt. Im Hintergrund sind kleine Engelsfiguren zu sehen, die die Szene beobachten. Boschs *Die Gefangennahme Christi* ist ein Werk, das zur Kontemplation über Themen wie Verrat, Leid und die menschliche Verfassung einlädt. Es befindet sich im North Carolina Museum of Art.
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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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Die Gefangennahme Christi - Hieronymus Bosch
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Hieronymus Bosch
His real name was Jheronimus van Aken, and he never left his hometown. Born around 1450 in 's-Hertogenbosch, a prosperous Brabantian town the locals called Den Bosch, he lived, painted, married, and died there. He took the name Bosch from the place itself.
When he was about thirteen, a fire destroyed 4,000 houses in the town. He almost certainly watched it. Scholars point to this event when explaining why flames appear so insistently in his later work, licking across panels of the damned and the disobedient, painted with a specificity that suggests memory rather than imagination.
He came from painters. His grandfather Jan van Aken had been one; four of Jan's five sons were painters too, though none of their work survives. Bosch married Aleyt Goyaerts van den Meervenne, a woman who was older than him and considerably wealthier. Her money meant he did not depend on commissions. He could paint what interested him, and what interested him was the full catalogue of human foolishness.
Only about 25 paintings are confidently attributed to him today. He signed just seven of them and dated none. The Garden of Earthly Delights, his best-known work, is a triptych tracing the arc from paradise to damnation, packed with hundreds of nude figures, hybrid creatures, and objects that resist easy interpretation. In 2014, someone noticed what appeared to be musical notes written on a tortured figure's backside in the hell panel. They transcribed and recorded the result. It sounds roughly as you would expect music from hell to sound.
His technique was unusual for the period. Where his Netherlandish contemporaries built up smooth, translucent glazes that concealed all brushwork, Bosch painted in thin, loose layers. The chalk underdrawing sometimes shows through. The effect is closer to drawing than to the polished surfaces of van Eyck or Memling.
He joined the Brotherhood of Our Lady in the late 1480s, a prestigious local confraternity with about 40 primary members and 7,000 associates across Europe. His father had served as their artistic adviser. The Brotherhood connected him to wealthy, orthodox Catholic patrons, and his paintings were collected across the Netherlands, Austria, and Spain during his lifetime. Philip II of Spain amassed so many that the Prado remains the richest repository of his work. The Surrealists claimed him centuries later. Leonora Carrington called him the first modern artist.
When he was about thirteen, a fire destroyed 4,000 houses in the town. He almost certainly watched it. Scholars point to this event when explaining why flames appear so insistently in his later work, licking across panels of the damned and the disobedient, painted with a specificity that suggests memory rather than imagination.
He came from painters. His grandfather Jan van Aken had been one; four of Jan's five sons were painters too, though none of their work survives. Bosch married Aleyt Goyaerts van den Meervenne, a woman who was older than him and considerably wealthier. Her money meant he did not depend on commissions. He could paint what interested him, and what interested him was the full catalogue of human foolishness.
Only about 25 paintings are confidently attributed to him today. He signed just seven of them and dated none. The Garden of Earthly Delights, his best-known work, is a triptych tracing the arc from paradise to damnation, packed with hundreds of nude figures, hybrid creatures, and objects that resist easy interpretation. In 2014, someone noticed what appeared to be musical notes written on a tortured figure's backside in the hell panel. They transcribed and recorded the result. It sounds roughly as you would expect music from hell to sound.
His technique was unusual for the period. Where his Netherlandish contemporaries built up smooth, translucent glazes that concealed all brushwork, Bosch painted in thin, loose layers. The chalk underdrawing sometimes shows through. The effect is closer to drawing than to the polished surfaces of van Eyck or Memling.
He joined the Brotherhood of Our Lady in the late 1480s, a prestigious local confraternity with about 40 primary members and 7,000 associates across Europe. His father had served as their artistic adviser. The Brotherhood connected him to wealthy, orthodox Catholic patrons, and his paintings were collected across the Netherlands, Austria, and Spain during his lifetime. Philip II of Spain amassed so many that the Prado remains the richest repository of his work. The Surrealists claimed him centuries later. Leonora Carrington called him the first modern artist.
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- Giclée-Druck in Museumsqualität für satte, lichtbeständige Farben
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Damit Ihr Kunstwerk optimal aussieht:
- Vorsichtig mit einem weichen, trockenen Tuch abstauben
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- Niemals flüssige Reiniger auf Druck- oder Leinwandoberflächen verwenden
- An einem trockenen Ort bei Raumtemperatur aufbewahren
- Drucke mit sauberen, trockenen Händen anfassen
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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
Hieronymus Bosch
His real name was Jheronimus van Aken, and he never left his hometown. Born around 1450 in 's-Hertogenbosch, a prosperous Brabantian town the locals called Den Bosch, he lived, painted, married, and died there. He took the name Bosch from the place itself.
When he was about thirteen, a fire destroyed 4,000 houses in the town. He almost certainly watched it. Scholars point to this event when explaining why flames appear so insistently in his later work, licking across panels of the damned and the disobedient, painted with a specificity that suggests memory rather than imagination.
He came from painters. His grandfather Jan van Aken had been one; four of Jan's five sons were painters too, though none of their work survives. Bosch married Aleyt Goyaerts van den Meervenne, a woman who was older than him and considerably wealthier. Her money meant he did not depend on commissions. He could paint what interested him, and what interested him was the full catalogue of human foolishness.
Only about 25 paintings are confidently attributed to him today. He signed just seven of them and dated none. The Garden of Earthly Delights, his best-known work, is a triptych tracing the arc from paradise to damnation, packed with hundreds of nude figures, hybrid creatures, and objects that resist easy interpretation. In 2014, someone noticed what appeared to be musical notes written on a tortured figure's backside in the hell panel. They transcribed and recorded the result. It sounds roughly as you would expect music from hell to sound.
His technique was unusual for the period. Where his Netherlandish contemporaries built up smooth, translucent glazes that concealed all brushwork, Bosch painted in thin, loose layers. The chalk underdrawing sometimes shows through. The effect is closer to drawing than to the polished surfaces of van Eyck or Memling.
He joined the Brotherhood of Our Lady in the late 1480s, a prestigious local confraternity with about 40 primary members and 7,000 associates across Europe. His father had served as their artistic adviser. The Brotherhood connected him to wealthy, orthodox Catholic patrons, and his paintings were collected across the Netherlands, Austria, and Spain during his lifetime. Philip II of Spain amassed so many that the Prado remains the richest repository of his work. The Surrealists claimed him centuries later. Leonora Carrington called him the first modern artist.
When he was about thirteen, a fire destroyed 4,000 houses in the town. He almost certainly watched it. Scholars point to this event when explaining why flames appear so insistently in his later work, licking across panels of the damned and the disobedient, painted with a specificity that suggests memory rather than imagination.
He came from painters. His grandfather Jan van Aken had been one; four of Jan's five sons were painters too, though none of their work survives. Bosch married Aleyt Goyaerts van den Meervenne, a woman who was older than him and considerably wealthier. Her money meant he did not depend on commissions. He could paint what interested him, and what interested him was the full catalogue of human foolishness.
Only about 25 paintings are confidently attributed to him today. He signed just seven of them and dated none. The Garden of Earthly Delights, his best-known work, is a triptych tracing the arc from paradise to damnation, packed with hundreds of nude figures, hybrid creatures, and objects that resist easy interpretation. In 2014, someone noticed what appeared to be musical notes written on a tortured figure's backside in the hell panel. They transcribed and recorded the result. It sounds roughly as you would expect music from hell to sound.
His technique was unusual for the period. Where his Netherlandish contemporaries built up smooth, translucent glazes that concealed all brushwork, Bosch painted in thin, loose layers. The chalk underdrawing sometimes shows through. The effect is closer to drawing than to the polished surfaces of van Eyck or Memling.
He joined the Brotherhood of Our Lady in the late 1480s, a prestigious local confraternity with about 40 primary members and 7,000 associates across Europe. His father had served as their artistic adviser. The Brotherhood connected him to wealthy, orthodox Catholic patrons, and his paintings were collected across the Netherlands, Austria, and Spain during his lifetime. Philip II of Spain amassed so many that the Prado remains the richest repository of his work. The Surrealists claimed him centuries later. Leonora Carrington called him the first modern artist.
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