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limited, 950 copies | original Dietz replica on stone | framed | size approx. 66 x 49.5 cm (h/w)
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Fresco, Roman Painting from Pompeii "Flower Picking Girl", framed
A flourishing culture and art was destroyed when Vesuvius buried the city of Pompeii in 79 AD. Of particular importance today are the rediscovered mural paintings, especially because of their remarkably good state of preservation. Pictures of illusionistic interior design or pictorial representation of myths and genre scenes.
Fresco, Roman painting from Pompeii "Flower Picking Girl":
This beautiful Roman woman gathers flowers and herbs as offerings and ornaments for a feast at the foot of Mount Vesuvius. Original: National Archaeological Museum, Naples.
Original Dietz replica in 48 colours on stone! Limited edition of 950 copies. Framed with real wood strip. Size incl. frame approx. 66 x 49.5 cm (h/w).
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Günter Dietz developed a revolutionary method for the authentic reproduction of paintings, where not the usual printing inks are used, but the same original colours used by the artist. Depending on the artist's painting technique, up to 140 (!), different paint applications need to be applied in order to achieve a perfect replica of the original that also tangibly reproduces the "relief" and pastosity of colour composition.
Here are the examples of 'Couple at the Garden Table' by August Macke:
Furthermore, the same material as the original, such as reproduction on canvas, paper, wood, copper, parchment is always used.
The result is a perfect, gridless reproduction that comes very close to the original in expressiveness and effect. Even museum specialists often can not distinguish the replica from the original. Therefore, a special security note must be added, which is visible only under X-rays.
The edition of most Dietz replicas is limited, usually to 950 copies. Each canvas replica is stretched onto a frame as the original, so you can retighten the canvas in case of fluctuations in room temperature and humidity. A high-quality solid wood strips round off every Dietz replica.
Numerous masterpiece paintings of Rembrandt, Caspar David Friedrich, Claude Monet, Gustav Klimt and various others have been recreated by the "Dietz Offizin". Famous modern artists such as Pablo Picasso, Salvador Dalí, Max Ernst, Friedensreich Hundertwasser, Joan Miró and Marc Chagall have used this method developed by Günter Dietz in order to have replicas of their works produced.
Press comments:
"The Dietz System provides images as good as the originals. What the electronics did with the invention of Hi-Fi and stereo for music playback - here the graphic technology made up for visual art." (Die Zeit, German newspaper)
"In theory, there is no difference between the original and the Dietz replica. They should not be called reproductions, but facsimiles." (Newsweek, US-American news magazine)
"For art printers all over the world remains unrealizable to this day, what Dietz only managed with the help of printing technology: The perfect reproduction of painted works." (Der Spiegel, German news magazine)
A true-to-the-original reproduction of an artwork in the same size and with the best possible material and colour uniformity.
The mould is usually taken directly from the original so that the replication reproduces even the finest details. After casting the replication, using the most appropriate method, the surface is polished, patinated, gilded or painted according to the original.
A replication of ars mundi is a recognizable copy of the original.
Roman art is primarily determined by the fusion of native Italic and Greek Hellenistic elements.
The pragmatic and political aspects serving the expansion of the empire played a decisive part in architecture.
In the sacral sphere, the early temples of Rome copied the Etrurian-Italic type. The Roman secular buildings, such as bridges, ports, aqueducts, walls, gates, etc. played a far more important role.
With the remodelling of the Forum Romanum by Augustus and the redesign of the Forum of Augustus, the importance of the old city centres changed. They became large enclosed outdoor space complexes. Axial symmetry aligned with a podium temple is characteristic of the period. The temples and theatres that were built in the "eternal city" under the reign of Emperor Augustus with their round dynamic designs diverged steadily from the straight-lined Greek models.
The round sculptural works of the Roman period were initially dominated by copies and redesigns of Greek models. Independent achievements of Roman sculptors arose in the field of portraits, whereby in Rome, the form of the bust was preferred. A preference for ornamentation without neglecting the substantive content is visual in Roman relief art.
Triumphal paintings that were carried in processions to honour glorious commanders were typical for the painting. The re-excavated Vesuvian cities of Pompeii, Herculaneum, Stabiae and Oplontis provide the richest overview of mural painting.
A similarity to painting is found in mosaic art which was mainly used for the decorative design of floors and walls.
Some areas of minor arts flourished exceedingly in Roman times. Toreutics, the art of working metal, produced precious silver vessels. The art of glassblowing is documented by numerous excellent finds. Glyptic (the art of carving on precious stones) produced magnificent reliefs carved from semi-precious stones, engraved gems and cameos depicting official themes.
The extensive coinage in Roman times contributed to spreading the portraits of the rulers over the entire territory of the Roman Empire.