Рэмбрант ван Рэйн, 1660 г. - Партрэт джэнтльмена ў высокім капелюшы і пальчатках - дэкаратыўны малюнак

The 17th century painting "Portrait of a Gentleman with a Tall Hat and Gloves" was painted by the барока artist Rembrandt van Rijn. The original measures the size 99,5 x 82,5 см (39 3/16 x 32 1/2 цаляў) and was made with oil on canvas transferred to canvas. This artpiece is in the the digital collection of National Gallery of Art located in Washington D.C., United States of America. With courtesy of: Нацыянальная галерэя мастацтваў, Вашынгтон (public domain).The creditline of the artwork is the following: . The alignment of the digital reproduction is in партрэт фармат і мае суадносіны бакоў 1: 1.2, гэта азначае, што даўжыня на 20% карацей шырыні. The painter Rembrandt van Rijn was an artist, whose art style was primarily Baroque. The Dutch painter was born in 1606 in Leiden and died at the age of 63 у год 1669.

Атрымайце свой любімы мастацкі друкаваны матэрыял

У выпадальным меню прадукту вы можаце выбраць матэрыял і памер па вашаму выбару. Мы дазваляем вам выбраць свой любімы памер і матэрыял сярод наступных варыянтаў індывідуалізацыі прадукту:

• Плакат (матэрыял палатна): A poster is a printed flat canvas with a granular surface finish. Please bear in mind, that depending on the absolute size of the poster we add a white margin 2-6cm around the print motif, which facilitates the framing with your custom frame.
• Друк на палатне: The canvas print is a printed cotton canvas stretched on a wooden frame. The canvas makes a charming and warm atmosphere. The advantage of canvas prints is that they are relatively low in weight, meaning that it is easy to hang up your Canvas print without the use of any wall-mounts. Therefore, a canvas print is suited for all kinds of walls.
• Друк на акрылавым шкле: A glossy acrylic glass print, which is sometimes named as a plexiglass print, will turn the original into magnificient wall decoration. Your favorite work of art is being manufactured with state-of-the-art UV direct print machines. It creates sharp, intense color shades.
• Метал (пячатка на алюмініі): This is a metal print made on aluminium dibond with a true depth effect. The colors are bright and vivid in the highest definition, details are crisp, and you can feel a matte appearance of the surface.

Юрыдычная заўвага: We try what we can to describe the products as clearly as it is possible and to exhibit them visually on the product detail pages. Nevertheless, the colors of the print products, as well as the print result may vary to a certain extent from the representation on your device's monitor. Depending on the settings of your screen and the condition of the surface, color pigments might not be printed 100% realistically. Considering that the fine art prints are printed and processed manually, there might also be minor variations in the motif's size and exact position.

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Вывучыўшы асновы малявання і жывапісу ў родным Лейдэне, Рэмбрант ван Рэйн адправіўся ў Амстэрдам у 1624 г., каб на працягу шасці месяцаў вучыцца ў Пітэра Ластмана (1583–1633), вядомага гістарычнага мастака. Пасля заканчэння навучання Рэмбрант вярнуўся ў Лейдэн. Каля 1632 года ён пераехаў у Амстэрдам, хутка зарэкамендаваўшы сябе як вядучы мастак горада, які спецыялізаваўся на гістарычных карцінах і партрэтах. Ён атрымліваў шмат заказаў і прыцягваў мноства студэнтаў, якія прыходзілі вывучаць яго метад жывапісу.

Rembrandt conceived this portrait of a man and another of a woman (see NGA 1942.9.68) as pendants, or companion pieces. In both, light illuminates the subjects from exactly the same angle. The sitters interact with restrained yet poignant warmth; he gestures toward her while looking at the viewer, and she glances in his direction while holding her feather fan so that it inclines toward him. The identity of the sitters is not known, but the circle of wealthy friends and acquaintances who might have ordered portraits at that period of Rembrandt’s life was rather small. The style of the sitters’ costumes is datable to the late 1650s, which is consistent with the character of Rembrandt’s painting technique.

The early history of these paintings is shrouded in mystery, but by 1803 they had entered the collection of Prince Nicolai Yusupov (1751–1831) in Saint Petersburg. The first published descriptions of the pair, in 1864, already mention their "extraordinary energy," and the paintings made a tremendous impression at the great Rembrandt exhibition in Amsterdam in 1898. When Nicolai’s great-great-grandson, Prince Felix Yusupov (1887–1967), escaped Russia at the start of the Revolution in 1917, he brought the family jewels and these two Rembrandt paintings with him to London. Joseph E. Widener, the future benefactor of the National Gallery of Art, purchased the pair in 1921 when the prince’s need for cash forced him to part with his family heirlooms.