John Henry Twachtman, 1900 - Scena u luci - grafički prikaz

Odaberite opciju materijala proizvoda

The product dropdown menu ofers you the possibility to pick a material and a sizeaccording to your personal preferences. You can choose your your favorite size and material among the following options:

• Aluminijski dvobojni otisak (metal): Aluminium Dibond prints are prints on metal with a true depth effect, which makes a fashionable impression throuch a surface structure, which is non-reflective. The white & bright sections of the original artpiece shine with a silk gloss, however without the glow. The colors of the print are luminous and vivid in the highest definition, the fine details of the print are crisp, and you can feel a matte appearance of the art print surface. The print on aluminium is one of the most popular entry-level products and is a contemporary way to showcase art, since it draws attention on the artwork.
• Platno: The canvas print is a printed cotton canvas mounted on a wood frame. A canvas produces a plastic impression of three dimensionality. Canvas prints are relatively low in weight, which means that it is quite simple to hang your Canvas print without additional wall-mounts. A canvas print is suitable for all kinds of walls in your house.
• Štampanje postera (materijal na platnu): Our poster is a UV printed canvas with a slightly roughened surface finish. It is qualified for putting your art replica using a personal frame. Please keep in mind, that depending on the size of the canvas poster print we add a white margin 2 - 6cm around the artwork, which facilitates the framing with your custom frame.
• Otisak na akrilnom staklu (sa pravim staklenim premazom): An acrylic glass print, often referenced as a print on plexiglass, makes your artwork into beautiful wall decoration. Our plexiglass with real glass coating protects your chosen art replica against sunlight and external influences for between four and six decades.

Pravna napomena: We try whatever we can in order to describe our art products as closely as possible and to exhibit them visually. Still, the pigments of the print materials and the imprint might vary to a certain extent from the presentation on the monitor. Depending on your settings of your screen and the nature of the surface, not all color pigments will be printed 100% realistically. Because all the are printed and processed by hand, there may as well be slight discrepancies in the motif's exact position and the size.

Supplemental information by Los Angeles County Museum of Art website (© Copyright - Muzej umjetnosti okruga Los Angeles - Muzej umjetnosti okruga Los Angeles)

Throughout his career Twachtman was attracted to harbors and scenes of shipping, and he painted harbors in Venice; the New York area; Newport, Rhode Island; Bridgeport, Connecticut; and Gloucester, Massachusetts. It is on the basis of its style that this harbor view is identified as a scene in Gloucester, where, during the last three summers of his short life, Twachtman developed a distinctive, new manner. Gloucester was both a resort and an active fishing town. Twachtman had received one of his earliest, favorable critical notices for the freshness of the views he painted in 1879 of unpicturesque wharves and shipping in New York harbor. In Gloucester he painted the countryside, but also close-up scenes of the ordinary wharves and fishing fleet. In this painting he seems to have set up his easel on the roof of one of the low sheds along the wharves, with one of the larger buildings to his left and behind him. This viewpoint looks down upon the deck of a large ship. judging from the forward position of the two masts that are visible, this may be a three-masted vessel, presumably one of the large Italian barks that brought salt for processing the fish in Gloucester. Much larger than the two-masted fishing schooners, the barks were higher in the water, their decks also higher than the level of the wharves built for the schooners. Twachtman used a high vantage point in some of the other paintings he did in Gloucester, producing a similarly high horizon line, which, together with the tilted-up foreground and square format of the canvas, tends to deny the illusion of spacial recession. The surface grid, which is suggested by the way the parallel masts intersect the top edge of the painting and the horizon line parallel to it, also contributes to an awareness of the picture’s surface and the denial of depth. Counteracting these formal features is another familiar in the Gloucester paintings, the powerful, thrusting diagonal into space, along the length of the bark. An increased consciousness of pictorial geometry, its clear expression, and its use for dramatic effect are characteristic of Twachtman’s more explicit picture-making in his Gloucester paintings. The design of Harbor Scene, painted on Twachtman’s largest canvas size of the period, is so strong that it reads clearly and forcefully even though the painting remained unfinished. Stimulated by the momentary scene and interested in problems of pictorial design, he began numerous paintings in Gloucester that he did not carry to completion. One sees in these unfinished paintings, as well as in the finished ones, a vigor of paint handling not seen in Twachtman’s work since his early period in Munich. His classic paintings of the previous decade employed underpainting to produce very delicate effects of limited color and value. The Gloucester pictures were painted directly, with the direction and texture of the paint clearly visible. The color is stronger, the contrasts greater, and the action of paint application is a matter of separate interest.

Kakvu vrstu umjetničkog proizvoda nudimo?

The work of art "Harbor Scene" was painted by the impresionistički majstor John Henry Twachtman in the year 1900. The original version was painted with the absolute size: 30 / 1 x 16 cm. Ulje na platnu was used by the American artist as the medium of the piece of art. Furthermore, this artwork belongs to the art collection of Los Angeles County Museum of Art, which is the largest art museum in the western United States, with a collection of more than 142.000 objects that illuminate 6.000 years of artistic expression across the globe. With courtesy of Muzej umjetnosti okruga Los Angeles (www.lacma.org) (licencirano: javno vlasništvo). Kreditna linija umjetničkog djela: . Štaviše, usklađenost digitalne reprodukcije je trg sa bočnim omjerom od 1: 1, što znači to dužina je jednaka širini. John Henry Twachtman was a painter, whose style can be attributed primarily to Impressionism. The American painter was born in the year 1853 in Cincinnati, Hamilton county, Ohio, United States and died at the age of 49 in 1902 in Gloucester, Essex county, Massachusetts, United States.

Pozadinske informacije o umetniku

Detalji o članku

Tabela pregleda umjetnika

Copyright ©, Artprinta.com