The stable (Pieter Wouwerman)
Pieter Wouwerman (1623–1682) sukūrė The stable. Eksponatas saugomas Fitzwilliam Museum United Kingdom.
The stable, trumpai
- Pavadinimas
- The stable
- Autorius
- Pieter Wouwerman (1623–1682)
- Dizainere/is gimęs
- Haarlem, Netherlands
- Kur galima pamatyti
- Fitzwilliam Museum, United Kingdom
Kuriame muziejuje eksponuojamas karya The stable?
Fitzwilliam Museum
United Kingdom
The History of Fitzwilliam Museum The Fitzwilliam Museum serves as the art and antiquities museum of the University of Cambridge. Its origins trace back to 1816, established through the will of Richard FitzWilliam, 7th Viscount FitzWilliam. This foundation transformed a private legacy into a public institution dedicated to the study of art and history.
The stable dididraudžios kokybės vaizdai
Viešoji domenė: suregalis mirė 1682 m.
Pieter Wouwerman, The stable, Fitzwilliam Museum. Viešoji domenė.
Atsakimai į klausimus apie The stable
Ar „The stable“ yra viešosios teisės kūrinys?
Autorių teisių statusas kūriniui „The stable“ – Pieter Wouwerman: kūrinys priklauso yra viešosios erdvės dalis – jo autorinė teisė pasibaigusi. Tai nulemia, ar galima laisvai reprodukciuoti šį vaizdą.
Kas yra „The stable“ kūrybos autorius?
Kūrinį „The stable“ sukūrė Pieter Wouwerman. Darbas katalogizuojamas Pieter Wouwerman vardu.
Kodėl „The stable“ autoriškos teisės statusas yra toks, koks yra?
„The stable“, kurį sukūrė Pieter Wouwerman, yra yra viešosios erdvės dalis – jo autorinė teisė pasibaigusi. Autorinės teisės apsaugos terminai skaičiuojami nuo autoriaus mirties, o Pieter Wouwerman mirė 1682 m.
Apie šį menininką, Pieter Wouwerman
1623–1682, Netherlands
Pieter Wouwerman
Pieter Wouwerman: A Dutch Baroque Visionary Pieter Wouwerman (1623 – 1682) stands as a prominent figure within the Dutch Golden Age, renowned for his captivating depictions of hunting scenes and cavalry portraits—a genre that cemented his reputation as one of the era’s foremost landscape painters. Born in Haarlem, Belgium, he was part of a family deeply rooted in artistic tradition; his brother Jan Wouwerman and Philips Wouwerman were also accomplished artists specializing in Italianate landscapes, mirroring a stylistic trend prevalent at the time – a deliberate homage to Pieter van Laer's success in Rome. The anecdotes surrounding Philips’s destructive tendencies toward his sketches offer a glimpse into the competitive spirit of the artistic milieu, hinting at rivalries and anxieties about maintaining prestige within the burgeoning art market. The story recounted by Arnold Houbraken—that Philips burned his sketchbook out of fear of diminishing his brother's fame—is debated amongst scholars, yet it underscores the pressures faced by artists striving for recognition during this period.