John Constable, 1836 - Stoke-by-Nayland - kunsttryk

Maleriet med titlen Stoke-by-Nayland som en kunstreplika

In the year 1836 John Constable created the romanticist work of art Stoke-by-Nayland. The over 180 years old original was painted with the size 126 × 169 ​​cm (49 5/8 × 66 1/2 tommer) og blev malet på mediet olie på lærred. Moveover, kunstværket er i den Art Institute Chicago collection in Chicago, Illinois, United States of America. With courtesy of Art Institute Chicago (licensed - public domain). Creditline of the artwork: Mr. and Mrs. W. W. Kimball Collection. Moreover, alignment of the digital reproduction is landscape with a side ratio of 4: 3, Hvilket betyder, at længden er 33 % længere end bredden. The painter John Constable was a European artist from the United Kingdom, whose artistic style can be classified as Romanticism. The British artist was born in the year 1776 in East Bergholt, Suffolk, England, United Kingdom and passed away at the age of 61 i år 1837 i Hampstead, London, Greater London, England, Storbritannien, kvarter.

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Vi tilbyder en række forskellige størrelser og materialer til hvert produkt. Følgende muligheder er tilgængelige for individualisering:

• Aluminium dibond print: Aluminium Dibond prints are prints on metal with an impressive depth, which creates a fashionable impression by having a surface , that is not reflective. For your Direct Print On Aluminum Dibond, we print your work of art on the aluminium surface. The bright and white parts of the original artpiece shimmer with a silk gloss, however without the glow.
• Poster (lærredsmateriale): The poster is a UV printed canvas with a fine texture on the surface. It is excellently suited for placing your art replica in a special frame. Please bear in mind, that depending on the absolute size of the poster print we add a white margin of something between 2-6cm round about the work of art in order to facilitate the framing with a custom frame.
• Lærred: The canvas direct print is a printed cotton canvas stretched on a wooden stretcher. A canvas has a plastic effect of three-dimensionality. The canvas creates a homelike, comfortable look. Hanging a canvas print: Canvas prints are relatively low in weight, which implies that it is easy and straightforward to hang the Canvas print without any wall-mounts. That is why, canvas prints are suitable for any kind of wall.
• Akryl glas print: A glossy acrylic glass print, often labelled as a fine art print on plexiglass, will turn the artwork into beautiful wall décor. The work of art is being made with the help of state-of-the-art UV direct print technology. With a glossy acrylic glass fine art print sharp contrasts as well as granular details become exposed due to the very fine tonal gradation.

Legal disclaimer: We try what we can to depict our products with as many details as possible and to demonstrate them visually on the product detail pages. Still, the colors of the printed materials, as well as the imprint might differ marginally from the representation on your device's screen. Depending on your settings of your screen and the nature of the surface, not all colors are printed one hundret percent realistically. In view of the fact that all the are printed and processed by hand, there may also be minor discrepancies in the motif's exact position and the size.

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Yderligere specifikationer fra museet (© Copyright - af Art Institute Chicago - www.artic.edu)

Stoke-by-Nayland depicts the subject matter that the landscape painter John Constable explored throughout his life: the Suffolk countryside of his youth. Constable based his landscapes on countless studies and sketches that he often took back to his London studio to expand and then finish. Of Stoke-by-Nayland, he wrote to a friend: “What say you to a summer morning? July or August, at eight or nine o’clock, after a slight shower during the night.” To achieve the effect of sparkling wetness and a freshness of earth and air, Constable painted as much with a palette knife as with a brush, flecking the surface with white highlights and sketching and scraping the picture into existence. The deliberate ruggedness of his style echoes nature’s rough spontaneity. The unpolished execution is reminiscent of the full-scale sketches in oil that Con-stable made for earlier exhibition paintings; however, no more fully treated version is known, and the rich color suggests that this is a finished work, done in the artist’s late style. Constable’s emphasis on surface brushwork and texture in his effort to record the constantly shifting effects of natural light on land and sky exerted enor-mous influence on French artists like Eugène Delacroix and a younger generation of French painters, the Impressionists.