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Scogliere a Etretatu

Gustave Courbet

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Scogliere a Etretatu

ID: #13518 | Realismo | Mare e navi

Date: 1869
Medium: oil on canvas
Location: Van der Heydt Museum, Wuppertal, Germany
Dimensions: 114 x 93

L'immagine mostra un paesaggio marino pittoresco con alte scogliere rocciose che sovrastano la spiaggia. Al centro delle scogliere è visibile un'apertura che crea una porta di roccia naturale. Sulla riva sabbiosa sono visibili barche da pesca in legno, una rovesciata e l'altra in piedi. Nella parte sinistra dell'immagine c'è una sporgenza rocciosa con aperture, posizionata con gusto, che potrebbe essere servita come riparo o deposito. Il cielo è parzialmente nuvoloso, ma la luce del sole penetra tra le nuvole e illumina la scena. Nel complesso, l'immagine ha un'atmosfera calma e rilassata.
Creata da un'intelligenza artificiale, si prega di essere indulgenti.

Courbet painted picture Scogliere a Etretatu in 1869. Prevailing color of this fine art print is varietà di colori and its shape is paesaggio. Original size is 114 x 93. This art piece is located in Van der Heydt Museum, Wuppertal, Germany. This image is printed on demand - you can choose material, size and finishing.

Gustave Courbet (1819 - 1877). French painter regarded as a leading figure of French realism of the 19th century. In 1839, he went to study law in Paris, but instead devoted himself to painting (he copied works by Spanish, Venetian and Dutch masters). His first success was in the Salon in 1849, when he received the gold medal for his painting Afternoon in Ornans. Courbet was inspired by Dutch masters ( Rembrandt, Hals and others). His influence was also Giorgione and Tizian. In the beginning, he pursued the track of austere rules tied to academicism that, for his open-minded nature, was too strict. He therefore painted according to the romanticists (Delacroix and Géricault). With the painting Funeral in Ornans, in which he captured his grandfather’s funeral, he distanced himself from romanticism and has since been considered a painter of realism.

Scogliere a Etretatu

Gustave Courbet

Motif size

Total size: 80 x 64 cm

Material


Finishing


Frame & passepartout

colour of passepartout
none

Selected finishing

Matte paper (print)
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Print. The image is printed on the top quality 9-ink HP Z9PS printer on Fomei Cotton Smoooth g / m2 paper. You can choose any size to an accuracy of 1 cm. A margin of 5 cm around the image is added to the size of the motif.

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:
40 €

Shipping date: 2 days

Scogliere a Etretatu

ID: #13518 | Realismo | Mare e navi

Date: 1869
Medium: oil on canvas
Location: Van der Heydt Museum, Wuppertal, Germany
Dimensions: 114 x 93

L'immagine mostra un paesaggio marino pittoresco con alte scogliere rocciose che sovrastano la spiaggia. Al centro delle scogliere è visibile un'apertura che crea una porta di roccia naturale. Sulla riva sabbiosa sono visibili barche da pesca in legno, una rovesciata e l'altra in piedi. Nella parte sinistra dell'immagine c'è una sporgenza rocciosa con aperture, posizionata con gusto, che potrebbe essere servita come riparo o deposito. Il cielo è parzialmente nuvoloso, ma la luce del sole penetra tra le nuvole e illumina la scena. Nel complesso, l'immagine ha un'atmosfera calma e rilassata.
Creata da un'intelligenza artificiale, si prega di essere indulgenti.

Courbet painted picture Scogliere a Etretatu in 1869. Prevailing color of this fine art print is varietà di colori and its shape is paesaggio. Original size is 114 x 93. This art piece is located in Van der Heydt Museum, Wuppertal, Germany. This image is printed on demand - you can choose material, size and finishing.

Gustave Courbet (1819 - 1877). French painter regarded as a leading figure of French realism of the 19th century. In 1839, he went to study law in Paris, but instead devoted himself to painting (he copied works by Spanish, Venetian and Dutch masters). His first success was in the Salon in 1849, when he received the gold medal for his painting Afternoon in Ornans. Courbet was inspired by Dutch masters ( Rembrandt, Hals and others). His influence was also Giorgione and Tizian. In the beginning, he pursued the track of austere rules tied to academicism that, for his open-minded nature, was too strict. He therefore painted according to the romanticists (Delacroix and Géricault). With the painting Funeral in Ornans, in which he captured his grandfather’s funeral, he distanced himself from romanticism and has since been considered a painter of realism.


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