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.
Maurizio Parys - Jan Matejko
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
Säker utcheckning
Tillverkad på beställning
Beskrivning
Ett formellt porträtt av Jan Matejko, som avbildar Maurizio Parys med exakt penselföring och fokus på textur och karaktär.
Detta porträtt av Jan Matejko skildrar Maurizio Parys, en figur avbildad med den tekniska precision som kännetecknar konstnärens tidiga karriär. Matejko, en polsk målare känd för sina storskaliga historiska kompositioner, visar här ett fokuserat tillvägagångssätt för individuell karaktärisering. Ämnet presenteras i en trekvarts vy, mot en neutral, dämpad bakgrund som riktar uppmärksamheten helt till den sittandes ansiktsdrag och klädsel.
Kompositionen bygger på en återhållsam palett, dominerad av de mörka tonerna i motivets rock och den texturerade, jordbruna färgen på pälskragen. Matejko använder en kontrollerad applicering av färg, särskilt vid återgivningen av pälsen, där individuella penseldrag antyder materialets täthet och vikt. Motivets uttryck är en stillsam kontemplation, med ögonen återgivna på ett sätt som antyder ett direkt engagemang med betraktaren. Den kritvita skjortkragen ger en nödvändig kontrast till klädernas mörkare element, vilket skapar ett visuellt ankare för överkroppen.
Matejkos förmåga att förmedla den fysiska närvaron hos sina motiv är tydlig i modelleringen av ansiktet. Hudtonerna appliceras med subtila graderingar, vilket fångar pannans konturer och käklinjens struktur. Detta verk speglar den akademiska utbildning Matejko fick i Kraków och München, där tonvikten låg på anatomisk noggrannhet och noggrann observation av ljus. Genom att fokusera på klädernas textur och den sittandes psykologiska tillstånd, producerar konstnären en studie som är både formell och intim. Det förblir ett tydligt exempel på nittonhundratalets porträttmåleri, där konstnärens främsta angelägenhet är en trogen återgivning av individen inom en strukturerad, traditionell ram.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
Komplettera looken
Maurizio Parys - Jan Matejko
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
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.
Våra funktioner
Utformad för varaktig inverkan
Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
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.
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Artistbiografi
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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