Fine Art Poster
From £37
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.
Porträtt av en man (Trivulzio-porträttet) - Antonello da Messina
Ordinarie pris
£37.00 GBP
Reapris
£37.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
Säker utcheckning
Tillverkad på beställning
Beskrivning
Ett mästerligt porträtt från tidig renässans av Antonello da Messina, känt för sitt psykologiska djup och precisa användning av oljemålningstekniker.
Antonello da Messina, en siciliansk mästare från tidig renässans, tillskrivs att ha introducerat oljemålningsteknikerna från de nordeuropeiska mästarna till Italien. Detta porträtt, ofta kallat Trivulzioporträttet, visar hans tekniska precision och hans förmåga att fånga psykologisk närvaro. Motivets framställs mot en mörk, neutral bakgrund, ett val som helt riktar betraktarens uppmärksamhet mot personens ansiktsdrag. Konstnären använder en sofistikerad användning av ljus och skugga för att modellera ansiktet, vilket skapar en känsla av volym och fysisk verklighet. Personens blick är direkt och möter betraktaren med ett lugnt, stadigt uttryck. Hans ansiktsdrag återges med minutiös detalj, från hudens struktur till de enskilda hårstråna. Användningen av oljefärg möjliggör subtila graderingar av ton, vilka Antonello använder för att antyda hudens värme och tygets tyngd. Detta verk återspeglar inflytandet från flamländska målare som Jan van Eyck, vars verk Antonello troligen stötte på under sina resor. Genom att kombinera detta nordliga intresse för naturalistisk detalj med det italienska fokuset på strukturell klarhet och humanistisk forskning, skapade Antonello en distinkt stil. Porträttet är inte bara en avbildning, utan en karaktärsstudie. Personens uttryck förblir gåtfullt, vilket antyder ett privat inre liv som är typiskt för Antonellos porträttmåleri. Kompositionen är stram och fokuserad, och utelämnar överflödiga detaljer för att säkerställa att motivet förblir den enda fokus för betraktarens upplevelse. Detta verk förblir ett tydligt exempel på de tekniska framsteg som definierade den italienska renässansen, vilket visar hur oljefärger möjliggjorde en ny nivå av realism i porträttmåleriet.
Returpolicy
Eftersom varje tryck görs på beställning erbjuder vi inte returer, återbetalningar eller byten på grund av ändrade åsikter. Om din beställning kommer fram felaktig, skadad eller fel, ersätter vi den kostnadsfritt – kontakta oss bara inom 48 timmar efter leverans. Se vår återbetalningssida för fullständig information.
Frakt
Vi skickar till hela världen och trycker vid den produktionsanläggning som är närmast din leveransadress. Leveranstider och kostnader varierar beroende på destination – du ser tillgängliga alternativ i kassan.
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
Porträtt av en man (Trivulzio-porträttet) - Antonello da Messina
Ordinarie pris
Från £30.00 GBP
Reapris
Från £30.00 GBP
Ordinarie pris
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Antonello Da Messina
When Giorgio Vasari told the story of how Antonello da Messina travelled to Flanders and was personally taught oil painting by Jan van Eyck, it made for an irresistible tale. The flaw was that Van Eyck died when Antonello was still a boy. The actual source was Naples, where the young Sicilian painter worked around 1450. King Alfonso I's collection there included works by Van Eyck and Rogier van der Weyden, and the Neapolitan master Colantonio had already absorbed Flemish methods. From this environment Antonello mastered the key technique: by layering multiple transparent glazes of oil-rich paint, a painter could achieve depths of colour that tempera alone could never produce.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
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 £59
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 £95
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.
Varför välja oss?
Leveransgaranti utan skador
Snabb leverans
Material av museikvalitet
Artistbiografi
Antonello da Messina
When Giorgio Vasari told the story of how Antonello da Messina travelled to Flanders and was personally taught oil painting by Jan van Eyck, it made for an irresistible tale. The flaw was that Van Eyck died when Antonello was still a boy. The actual source was Naples, where the young Sicilian painter worked around 1450. King Alfonso I's collection there included works by Van Eyck and Rogier van der Weyden, and the Neapolitan master Colantonio had already absorbed Flemish methods. From this environment Antonello mastered the key technique: by layering multiple transparent glazes of oil-rich paint, a painter could achieve depths of colour that tempera alone could never produce.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
His early St Jerome in His Study (c.1456, 46 x 36 cm, National Gallery, London) shows the synthesis already complete: Flemish precision in the still-life objects and tiled floors, combined with a system of perspective more rigorous than the Netherlandish masters ever attempted. It is a small picture that feels entirely worked out.
The decisive episode came in 1475-76, when he visited Venice and painted the San Cassiano Altarpiece for the church of San Cassiano. The altarpiece was dismembered in the 17th century; only fragments survive in Vienna's Kunsthistorisches Museum. His contact with Giovanni Bellini during this visit generated one of the great productive arguments in art history: scholars still dispute who influenced whom. Either way, Venetian painting was different afterwards.
He returned to Messina and died there in 1479. His late Virgin Annunciate (c.1475, 34.5 x 44.5 cm, Galleria Nazionale, Palermo), showing the Madonna without the angel Gabriel, demonstrates how far he had travelled from his sources: the geometric stillness and internal luminosity are entirely his own.
Du kanske också gillar