Rembrandt van Rijn, 1660. - Pilat pere ruke - grafika

Sažetak proizvoda za štampu

Pilate Washing His Hands is a work of art painted by the painter Rembrandt van Rijn. The more than 360 year-old original was painted with the following size: 51 / 1 x 4 cm and was manufactured on the medium oil on canvas. Besides, the piece of art is in the the art collection of Metropolitanski muzej umetnosti, koji je jedan od najvećih i najfinijih svjetskih muzeja umjetnosti, koji uključuje više od dva miliona umjetničkih djela koja se prostiru na pet hiljada godina svjetske kulture, od prapovijesti do danas i sa svih dijelova svijeta. klasična umjetnost artpiece, which is part of the public domain is being provided with courtesy of The Metropolitan Museum of Art, New York, Bequest of Benjamin Altman, 1913. The creditline of the artwork is: Bequest of Benjamin Altman, 1913. In addition to that, the alignment is pejzaž sa bočnim omjerom od 4: 3, što to implicira dužina je 33% duža od širine. The painter Rembrandt van Rijn was a European artist from the Netherlands, whose art style can primarily be assigned to Baroque. The Baroque artist lived for 63 godina, rođen 1606. u Leidenu i preminuo 1669. godine.

Odaberite materijal svog proizvoda

Za svaku umjetničku grafiku nudimo niz različitih materijala i veličina. Dopuštamo vam da odaberete između sljedećih varijanti:

• Aluminijski dibond: These are metal prints on aluminium dibond material with an impressive depth effect. A direct Direct Print on Aluminum Dibond is the excellent start to art prints with aluminum. For our Direct Aluminium Dibond print, we print your selected artpiece right on the surface of the white-primed aluminum composite.
• Otisak na platnu: A canvas print is a printed canvas mounted on a wood stretcher. Canvas prints are relatively low in weight, meaning that it is easy and straightforward to hang up the Canvas print without additional wall-mounts. A canvas print is suited for any kind of wall.
• Štampani poster (materijal na platnu): The poster print is a printed sheet of canvas with a slight surface structure, which resembles the actual version of the masterpiece. It is ideally suited for putting the art print with the help of a special frame. Please note, that depending on the size of the poster we add a white margin between 2-6cm around the painting in order to facilitate the framing.
• Otisak akrilnog stakla: A glossy print on acrylic glass, often referenced as a plexiglass print, will convert your favorite original work of art into brilliant home decoration. Your favorite artwork is being manufactured with the help of modern UV print technology. This makes rich and sharp color shades. The great advantage of a plexiglass fine art print is that sharp contrasts plus small details will be recognizeable thanks to the subtle tonal gradation. The real glass coating protects your selected art print against sunlight and heat for many decades.

Pravno odricanje odgovornosti: We try everythig possible to depict the products as accurately as possible and to display them visually in our shop. However, the pigments of the print materials and the print result may vary marginally from the presentation on the device's monitor. Depending on your settings of your screen and the nature of the surface, not all color pigments are printed as realistically as the digital version on this website. Given that all our art reproductions are processed and printed manually, there may also be minor differences in the size and exact position of the motif.

Tabela predmeta

Strukturirani detalji umjetničkog djela

Strukturirani metapodaci umjetnika

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Dodatne specifikacije muzeja (© Copyright - Metropolitanski muzej umjetnosti - www.metmuseum.org)

Critical opinions of this picture have varied considerably since about 1905, when Wilhelm von Bode described it as "a somewhat abnormal work" by Rembrandt. However, most scholars since the 1940s have dated the painting to the 1660s and assigned it to an anonymous pupil. The composition is reminiscent of mature works by Rembrandt but the Rembrandtesque surface effects fail to convey anything like the master's command of illumination and modelling. The name of his only known pupil of the 1660s, Arent de Gelder, has been put forward speculatively.