Picture "The Tegernsee", framed
Picture "The Tegernsee", framed
Quick info
limited, 950 copies | original Dietz replica | oil on canvas | on stretcher frame | framed | size approx. 46 x 59 cm (h/w)
Detailed description
Picture "The Tegernsee", framed
Original: Neue Pinakothek, Munich.
Original Dietz replica in 65 colours. Oil on canvas. Limited edition of 950 copies. Each canvas replica is stretched on a stretcher frame like the original so that you can re-stretch the canvas in case of fluctuations in room temperature and humidity. With a solid wooden frame. Size approx. 46 x 59 cm (h/w).
About Georg von Dillis
1759-1841
Born on 26 December 1759 in Grüngiebing in Bavaria, Germany, Dillis received a scientific education at a grammar school when he was only six years old. As the eldest of 11 children, he owed this privilege to his godfather, Elector Maximilian III Joseph of Bavaria. Already at a young age, his artistic talent became apparent, but penniless after the death of his patron he studied philosophy and theology instead. In 1782, he was ordained as a secular priest and thereupon devoted himself again to the art of drawing, later to landscape and portrait painting. Since he also gave lessons in drawing, he became acquainted with distinguished families.
During his several travels, he produced numerous watercolour paintings of the Bavarian mountains and the surrounding area. Dillis became of special importance for Munich painting. With a dexterous technique, he translated his meticulous study of nature into the picture. In this way, he cast off the eclecticism of the late Rococo and found his way to a new naturalism. His special strength was drawing. His works already foreshadow the atmospheric landscapes he would later paint in Munich.
Dillis always paid homage to his homeland in his paintings and died in Munich on 28 September 1841.
Epochal term for the art of the 17th century. The Baroque style of art, which originated in Rome around 1600, permeated visual arts, literature and music practically all over Europe within a very short period of time and lasted until 1770 in the visual arts. The last phase is generally characterised by Rococo.
Characteristic features include: the pulsating movement of all forms, the abolition of boundaries between architecture, painting and sculpture, that resulted in the epoch typical "Gesamtkunstwerk" ("total work of art"), and especially the purposeful use of light, which became an important artistic component. The subordination of the individual parts to the whole resulted in the creation of a unified and, at the same time, dynamic space, which is fully expressed in the magnificent buildings of this period.
The Baroque art, with its penchant for grandeur, splendour and rushing abundance, clearly reflects the desire for representation, which was a concern of secular and ecclesiastical, especially the Catholic, patrons of the time, who were strengthened by the Counter-Reformation. In painting, characteristic features of the Baroque, are manifested in the altar and ceiling painting, history and portrait.
Typical representatives include artists such as Anthony van Dyck, Peter Paul Rubens as well as Gian Lorenzo Bernini in the field of sculpture.
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.