Natale Schiavone, 1841 - Smutek - druk artystyczny

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Natale Schiavoni, who once "il pittore delle grazie" was called, that reputation was primarily for his depictions of women. In addition, his oeuvre includes numerous portraits, religious subjects and historical genre scenes. After first attempts as an engraver he turned the miniature painting, worked since 1807 at the court of the viceroy of Italy in Milan and was established in 1816 by Emperor Franz to Vienna. He portrayed the members of the imperial family and the aristocracy and enjoyed high reputation (sustainable appreciation Emperor Franz I commented later in the purchase of the 1,832 issued in the Brera in Milan picture "The Penitent Mary Magdalene" for the imperial art collection. The work was discussed in the contemporary press in long treatises and took place in autumn 1836 at the reopening of the Art Gallery in the Upper Belvedere lineup. Today it is owned by the Austrian Gallery Belvedere). 1821 Schiavoni left with his family (his sons Felice and Giovanni were also a painter) settled in Venice. The image formats were from now larger, the range of topics wider. Late thirties, beginning with the presentation Malinconia (Melancholy, 1837, Milan, Galleria d'Arte Moderna), the painter employed reinforced with the pictorial implementation of allegorical terms such as "seduction", "temptation", "evil", " List "," first love ", etc. As a medium for the clarification he preferred the female half-length piece. The audience these representations were well received, less, however, in the press, which accused him penchant for decorative and Spruce, drawing incorrectness and repeating already found ideas. This image is titled The sadness. is typical of Schiavoni that he needs no explanatory Beiwerkes expressed the state of mind. The woman alone is sufficient, their posture, inclination of the head and the pose of the hands. The black, tüllartige scarf bare shoulders partially covered, and the weeping willow in the background have only underlining function. Museo Civico P. Revoltella in Trieste there is an almost equal representation, which was made in the previous year; Differences are only in detail, in the hairstyle, the position of the veil, the clothes (the Vienna picture shows in cutting a lapel pin), but above all in the background, the picture is just a generously draped curtain in Trieste. In comparison, the Vienna image appears delicate painted and intimate expression, the pain of the woman is formulated ideal type by complementing the weeping willow. [Source: Grabner, Sabine: Natale Schiavoni. The sadness in: New Acquisitions. Master of Heiligenkreuz to Krystufek, exh. Cat. Osterreichische Galerie Belvedere, Vienna 15.09.-21.11.1999 (temporary exhibition of the Austrian Gallery, 224), S. 40f]

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XIX-wieczny obraz pt Smutek wykonał artysta Natale’a Schiavone’a. The original version has the exact dimensions of 73 cm x 59 i został wyprodukowany z technika oil on canvas. "Signed and dated lower right: N. Schiavoni / 1841" is the masterpiece's original inscription. What is more, the work of art is included in the Belwederski digital art collection, which is one of Europe's most famous museums with three locations that blends the experience of architecture and art in a unique way. The modern art masterpiece, which belongs to the domena publiczna udostępniono dzięki uprzejmości © Belvedere, Wiedeń, numer inwentarzowy: 8956. Linia kredytowa dzieła: zakup od Dorotheum w Wiedniu w 1994 roku. Do tego wyrównanie reprodukcji cyfrowej portret format ze współczynnikiem proporcji 1: 1.2, meaning that the length is 20% shorter than the width. The painter Natale Schiavone was an artist, whose style can be attributed primarily to Realism. The artist lived for a total of 81 roku, born in the year 1777 in Chioggia, Veneto and passed away in the year 1858 in Venice.

Ważna informacja: We try the best we can to depict our art products as accurate as possible and to exhibit them visually in our shop. Nevertheless, the colors of the print products and the printing may vary to a certain extent from the representation on the screen. Depending on your screen settings and the nature of the surface, colors can unfortunately not be printed one hundret percent realistically. In view of the fact that all the fine art prints are processed and printed manually, there might as well be minor deviations in the exact position and the size of the motif.

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