Jan Brueghel d. Ä.: Bild "Rückkehr vom Markt", gerahmt
Jan Brueghel d. Ä.: Bild "Rückkehr vom Markt", gerahmt
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limited, 950 copies | original Dietz replica | oil on copper | framed | size 35.5 x 45 cm (h/w)
Detailed description
Jan Brueghel d. Ä.: Bild "Rückkehr vom Markt", gerahmt
Flemish painter (1568-1625), son of Pieter the Elder. He was nicknamed "Flower" Brueghel because of his preferred motifs and "Velvet" Brueghel because of the soft colour tones. Original: Lower Saxony State Museum Hanover.
Original Dietz replica in 62 colours. Oil on copper. Limited edition of 950 copies. Size 35.5 x 45 cm (h/w).
About Jan Brueghel d. Ä.
1568-1625
In order to distinguish the Brueghels family, they were given epithets characterising their work. Thus Jan Brueghel the Elder became the "Velvet" or "Flower" Brueghel. Indeed, his flower bouquets are among the most beautiful in Dutch painting. He composed an illusionistic flower paradise in a knowledgeable, exact reproduction of the flower shapes and colours of all seasons. Thanks to his training as a miniature painter, he was able to achieve this magnificent attention to detail.
Jan Brueghel was born in Brussels in 1568 as the second son of Pieter Brueggel the Elder. After his apprenticeship with the painter Coninxloo he went to Italy and was admitted to the Antwerp Guild of St Luke in 1597. Here he became friends with Peter Paul Rubens. The high point of his career, however, was his employment as court painter to Archduke Albrecht of Austria.
Although Jan Brueghel took up his father's themes, such as landscape depictions or rural scenes, he never achieved his father's moralising effect. His skill lay in his use of colour: he achieved the velvety lighting effects of a relatively uniform colour palette through deliberately placed contrasts of light and dark, while the sumptuous floral still lifes are beguiling in their clear composition and colours.
Jan Brueghel the Elder, who had become a highly respected painter in Antwerp, died on 12 January 1625 from cholera.
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)
Depiction of typical scenes from daily life in painting, whereby a distinction can be made between peasant, bourgeois and courtly genres.
The genre reached its peak and immense popularity in Dutch paintings of the 17th century. In the 18th century, especially in France, the courtly-galant painting became prominent while in Germany the bourgeois character was emphasised.
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.