Cosimo Rosselli, 1481 - Portretul unui om - tipărit de artă

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In 1481 artistul masculin cosimo roselli created this early renaissance artpiece „Portretul unui bărbat”. De peste 530 year-old original measures the size: 20 3/8 x 13 in (51,8 x 33 cm) and was painted with the medium tempera pe lemn. În plus, piesa de artă se află în colecția de artă a Muzeul de Artă Metropolitan located in New York City, New York, United States of America. With courtesy of - Muzeul Metropolitan de Artă, New York, Legatul lui Edward S. Harkness, 1940 (licență: domeniu public). : Moștenirea lui Edward S. Harkness, 1940. Mai mult, alinierea reproducerii digitale este în portret format și are un raport de aspect de 2: 3, ceea ce implică acest lucru lungimea este cu 33% mai scurtă decât lățimea. Cosimo Rosselli was a painter of Italian nationality, whose artistic style can primarily be attributed to Early Renaissance. The Italian artist lived for a total of ani 67, născut în anul 1440 in Florence, Firenze province, Tuscany, Italy and died in the year 1507.

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• Imprimare dibond din aluminiu: This is a metal print manufactured on aluminium dibond with a true depth effect. A direct Aluminium Dibond Print is the ideal start to the sophisticated world of art replicas on aluminum. For the Print On Aluminum Dibond, we print your artwork on the aluminium composite surface.
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Disclaimer: We try what we can to describe the products as precisely as possible and to demonstrate them visually in our shop. Nevertheless, the tone of the print materials and the imprint may differ to a certain extent from the image on the device's monitor. Depending on the settings of your screen and the condition of the surface, not all color pigments will be printed 100% realistically. In view of the fact that the are processed and printed by hand, there may as well be minor deviations in the motif's exact position and the size.

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Whether this portrait was painted in Rome, where Cosimo Rosselli was employed in the Sistine Chapel, or in Florence, cannot be said with certainty. The sitter wears a costly red doublet lined in ermine and places his hand on the edge of the frame, in a manner found in the Netherlandish portraits of Hans Memling. Netherlandish portraits were much appreciated for their descriptive truthfulness.