Hans Schäufelein, 1510 - Jungfruns sovande; (omvänd) Kristus som bär korset - konsttryck

Smakämnen klassisk konst konstverk målades av tyska konstnär Hans Schäufelein år 1510. The beyond 510 years old original creation was made with the size of 55 x 53 1/8 tum (139,7 x 134,9 cm) och målades med Tekniken oil and gold on fir. Besides, the artpiece can be viewed in in the art collection of Metropolitan Museum of Art, som ligger i New York, New York, USA. Med artighet av The Metropolitan Museum of Art, New York, Purchase, Lila Acheson Wallace, Karen and Mo Zukerman, Kowitz Family Foundation, Anonymous, and Hester Diamond Gifts, 2011 (licensierad: allmän egendom). Creditline of the artwork: Purchase, Lila Acheson Wallace, Karen and Mo Zukerman, Kowitz Family Foundation, Anonymous, and Hester Diamond Gifts, 2011. Further, the alignment of the digital reproduction is in kvadrat format med förhållandet 1 : 1, vilket innebär att längden är lika med bredden.

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• Affisch (dukmaterial): Our poster is a printed flat canvas paper with a slightly roughened texture on the surface, that reminds the original work of art. A poster print is perfectly used for placing your art copy with the help of a custom-made frame. Please note, that depending on the absolute size of the poster print we add a white margin of something between 2-6cm around the painting, which facilitates the framing with a custom frame.
• Tryck på blankt akrylglas (med äkta glasbeläggning): An print on acrylic glass, which is often described as a print on plexiglass, will convert the original into magnificient décor. With an acrylic glass fine art print contrasts and minor details become visible with the help of the delicate gradation of the print.
• Aluminium dibond tryck: Aluminium Dibond prints are metal prints with an outstanding depth. The non-reflective surface structure make a contemporary look. The colors are luminous in the highest definition, the fine details of the print appear clear and crisp.
• Duk: A printed canvas, not to be mistaken with a real canvas painting, is a digital image applied on a canvas material. A canvas print of this artpiece will let you turn your fine art print into a large size artpiece. How can I hang a canvas on my wall? Canvas Prints have the great advantage of being relatively low in weight, which implies that it is easy to hang up the Canvas print without any wall-mounts. Therefore, canvas prints are suited for any type of wall.

Ansvarsfriskrivning: We try everythig possible to depict the products as precisely as possible and to demonstrate them visually. Nonetheless, the colors of the printing material and the print result may vary slightly from the presentation on the device's screen. Depending on your screen settings and the condition of the surface, not all color pigments can be printed 100% realistically. Considering that the art reproductions are processed and printed manually, there may also be slight differences in the motif's exact position and the size.

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Originalinformation om konstverket från Metropolitan Museum of Arts webbplats (© - av The Metropolitan Museum of Art - Metropolitan Museum of Art)

Front label:This large, double-sided panel is one of four that formed the wings of a folding triptych. When open, the altarpiece showed episodes from the Life of the Virgin Mary—here her death, or dormition. Dürer’s influence is evident in the humanity conveyed in the individualized heads of the apostles and their concentrated mood of quiet sorrow.Schäufelein was among Dürer's most gifted pupils and the one whose style most consistently showed the influence of the great German master. Between 1509 and 1515, he also served in the Augsburg workshop of Hans Holbein the Elder.For more information about this painting, including a reconstruction of the triptych, visit metmuseum.org.Reverse label:When closed, the monumental triptych to which this panel belonged showed scenes from the Passion of Christ. They were painted by an artist known as the Master of Engerda and were based on designs by Hans Holbein the Elder. Hans Schäufelein intervened at a late stage in the painting process, adding a tormenter at the upper right and altering the position of the rope-puller to achieve a more dynamic, active expression. The scene’s dramatic mood is heightened by the emotionally shattered Christ, who looks out of the painting rather than down at the ground.