The stable (Pieter Wouwerman)
Pieter Wouwerman (1623–1682) je izdelal The stable. Del se nahaja v muzeju Fitzwilliam Museum v mestu United Kingdom.
The stable, na kratek
- Naslov
- The stable
- Avtor
- Pieter Wouwerman (1623–1682)
- Umetnik, rojen v
- Haarlem, Netherlands
- Kje je videti
- Fitzwilliam Museum, United Kingdom
V katerem muzeju se nahaja The stable?
Fitzwilliam Museum
United Kingdom
Zgodovina muzeja Fitzwilliam Muzej Fitzwilliam deluje kot muzej umetnosti in starovin Univerze v Cambridgeu. Njegove korenice segašajo v leto 1816, ko je bil ustanovljen po volilni Richarda Fitzwilliana, 7. vizkonta Fitzwilliana.
Visokoresolucijske slike dela The stable
Javna lastnina: umetnik je umrl leta 1682.
Pieter Wouwerman, The stable, Fitzwilliam Museum. Javna lastnina
Odgovori na vprašanja o The stable
Ali je "The stable" v javni domeni?
Status avtorskih pravic za "The stable" avtorja Pieter Wouwerman: del je v javni domeni – avtorska pravica je zastarela. To določa, ali se lahko reprodukcije slike izdelujejo prosto.
Kdo je avtor dela "The stable"?
Avtor dela "The stable" je Pieter Wouwerman. Del je katalogiran pod imenom Pieter Wouwerman.
Zakaj je status avtorske pravice za "The stable" prav takšen, kot je?
Del "The stable" avtorja Pieter Wouwerman je v javni domeni – avtorska pravica je zastarela. Avtorske pravice se izračunajo od smrti umetnika, pri čemer je Pieter Wouwerman umrl leta 1682.
O umetniku, 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.