Jacob van Ruisdael, 1655 - Paysage avec les ruines du château d'Egmond - tirage d'art

Explication du produit artistique

Cette peinture d'art classique Landscape with the Ruins of the Castle of Egmond a été créé par l'artiste Jacob van Ruisdael dans l'année 1655. L'original a la taille: 98 × 130 cm (38 7/8 × 51 3/8 po). Huile sur toile was used by the Dutch painter as the medium of the piece of art. The original artwork was inscribed with the following text: inscribed in lower right: JVR in ligature. Cette œuvre d'art fait partie de la collection de Art Institute Chicago. We are glad to reference that the public domain piece of art is being included with courtesy of Art Institute Chicago. En outre, l'œuvre d'art a la ligne de crédit suivante: Collection Potter Palmer. De plus, l'alignement de la reproduction numérique est paysage d'été et a un rapport latéral de 4: 3, ce qui implique que la longueur est 33% plus longue que la largeur.

Options de matériau de produit possibles

Nous proposons une gamme de différentes tailles et matériaux pour chaque produit. Vous pouvez choisir parmi les options de personnalisation de produit suivantes:

• Affiche (matériel de toile): Les Artprinta poster print is a UV printed cotton canvas paper with a slightly roughened surface structure, that resembles the original work of art. Please keep in mind, that depending on the absolute size of the poster print we add a white margin 2 - 6cm round about the work of art, which facilitates the framing with your custom frame.
• Impression sur verre acrylique (avec revêtement en verre véritable sur le dessus): The acrylic glass print, which is often described as a print on plexiglass, makes your favorite original into gorgeous décor. Moreover, the acrylic glass print offers a distinct alternative to canvas or dibond prints. With a glossy acrylic glass art print contrasts plus minor details become more visible due to the very subtle gradation.
• Aluminium dibond (impression métallique): An Aluminium Dibond print is a material with a true effect of depth, which creates a fashionable impression by having a non-reflective surface structure. The Direct Print on Aluminum Dibond is the best start to the sophisticated world of fine art reproductions manufactured with aluminum. The bright and white components of the original artpiece shine with a silk gloss, however without any glow.
• L'impression sur toile: The printed canvas, not to be mistaken with a painting on a canvas, is a digital replica printed on a canvas. Canvas Prints have the great advantage of being low in weight. That means, it is easy to hang up your Canvas print without the use of any wall-mounts. Canvas prints are suited for any kind of wall.

Important note: We try what we can to depict our art products with as many details as we can and to display them visually in our shop. Nevertheless, the pigments of the print materials, as well as the print result might diverge slightly from the image on the screen. Depending on the settings of your screen and the condition of the surface, not all color pigments are printed as exactly as the digital version on this website. In view of the fact that all our art prints are printed and processed by hand, there may as well be minor variations in the exact position and the size of the motif.

Détails des éléments structurés

Détails de l'œuvre d'art

Tableau récapitulatif des artistes

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Supplemental information from Art Institute Chicago website (© Droits d'auteur - Art Institute Chicago - Art Institute Chicago)

The heroic but ephemeral edifices of humankind and the enduring power and grandeur of nature are evocatively expressed in this work by the landscape painter Jacob van Ruisdael. A shepherd and his flock are dwarfed by the ruins of a castle, a massive hill in the background, and dark, swollen clouds gathering overhead. Ruisdael’s skillful use of color also enhances the painting’s poetic effect. Other than the glowing terra-cotta of the ruins and the restrained use of creamy whites, his palette consists mostly of the greens and browns of nature. There is only one small point of bright color in the entire painting: the shepherd’s red jacket. Although the artist’s choice of ruins as his subject followed an established pictorial tradition in the Netherlands, he was not concerned with topographical accuracy; indeed, the prominent hill behind the structure was a product of his imagination. The castle, once the seat of the Counts of Egmond, had powerful associations. It was destroyed at the command of the Prince of Orange to prevent the Spanish Army from occupying it during the Dutch struggle for independence from Spanish rule in the late sixteenth century.