Iyeltak:1875, Bierstadt, Albert, Mount Adams, Washington.jpg
Xantaf iyeltak (4135 × 2652 pixel, iyeltakaldo : 12,1 Mio, MIME ord : image/jpeg)
Bat iyeltak tir mal Wikimedia Commons ise gan yonar abdumimaks rotir zo faver. Pimtara moe inafu iyeltakbu valeveon zo nedir.
Albert Bierstadt : Adams mefta (trutca ke Bierstadt) | |||||||||||||||||||||||||||
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Artiste |
artist QS:P170,Q77132 |
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Titre |
Mount Adams, Washington |
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Type d'objet |
peinture object_type QS:P31,Q3305213 |
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Genre | paysage | ||||||||||||||||||||||||||
Pimtara |
English: Catalogue Entry:
Like Frederic Church, Albert Bierstadt enjoyed great success in the years surrounding the Civil War, producing finely detailed vistas of nature’s splendor in majestic canvases that were similarly invested with significance beyond their surface appearance. The first technically advanced artist to portray the American West, Bierstadt offered to a rapidly transforming nation pictures whose spectacular size and fresh, dramatic subject matter supplied a visual correlative to notions of American exceptionalism, while also contributing to the developing concept of Manifest Destiny. Trained in the highly finished manner of the Düsseldorf Academy, Bierstadt’s precise style imbued his works with a reassuring sense of veracity despite their sublime subjects and occasional liberties with geographic reality. In Mount Adams, Washington, he characteristically combined an impressively scaled natural background with a foreground view of American Indian life, which serves to heighten the picture’s putative realism even as it enhances its exotic appeal. The implied movement of the clouds and the sunlit figures on horseback similarly off to the right seems to open up the depicted space for the viewer to inhabit, providing an apt pictorial metaphor for the actual occupation and exploitation of the West by the eastern interests that constituted the artist’s clientele. Gallery Label: Albert Bierstadt enjoyed great success in the years surrounding the Civil War producing finely detailed vistas of nature’s splendor in majestic canvases that were invested with a significance beyond their surface appearance. The first technically advanced artist to portray the American West, Bierstadt offered to a rapidly transforming nation pictures whose spectacular size and fresh, dramatic subject matter supplied a visual correlative to notions of American exceptionalism, while contributing as well to the developing concept of Manifest Destiny. Trained in the highly finished manner of the Düsseldorf Academy, Bierstadt’s precise style imbued his works with a reassuring sense of veracity that their sublime subjects and occasional liberties with geographic reality would seem to belie. In Mt. Adams, Washington, the artist characteristically combined an impressively scaled natural background with a foreground view of American Indian life, which serves to heighten the picture’s putative realism even as it enhances its exotic appeal. |
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Evla |
1875 date QS:P571,+1875-00-00T00:00:00Z/9 |
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Technique / matériaux |
huile sur toile medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 |
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Dimensions |
hauteur : 213 см ; largeur : 138 см dimensions QS:P2048,213U174728 dimensions QS:P2049,138U174728 frame: hauteur : 255,7 см ; largeur : 180 см ; profondeur : 15,5 см dimensions QS:P2048,255.7U174728 dimensions QS:P2049,180U174728 dimensions QS:P5524,15.5U174728 |
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Collection |
institution QS:P195,Q2603905 |
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Lieu actuel |
American Art |
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Numéro d’inventaire |
y1940-430 |
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Lieu de fabrication | Amerikatanarasokeem | ||||||||||||||||||||||||||
Expositions | Encounters: Conflict, Dialogue, Discovery: Princeton University Art Museum (14 Jul 2012 – 23 Sep 2012) | ||||||||||||||||||||||||||
Attribution de l’acquisition | Gift of Mrs. Jacob N. Beam | ||||||||||||||||||||||||||
Références |
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Source / photographe | Princeton University Art Museum |
Sortara :
Ceci est une reproduction photographique fidèle d'une œuvre d'art originale en deux dimensions. L'œuvre d'art elle-même est dans le domaine public pour la raison suivante :
La position officielle de la Fondation Wikimedia est que « les représentations fidèles des œuvres d'art du domaine public en deux dimensions sont dans le domaine public et les exigences contraires sont une attaque contre le concept même de domaine public ». Pour plus de détails, voir Commons:Quand utiliser le bandeau PD-Art.
Cette reproduction photographique est donc également considérée comme étant élevée dans le domaine public. Merci de noter qu'en fonction des lois locales, la réutilisation de ce contenu peut être interdite ou restreinte dans votre juridiction. Voyez Commons:Reuse of PD-Art photographs. |
Éléments décrits dans ce fichier
dépeint français
type MIME français
image/jpeg
somme de contrôle français
28fbd5bb89e819d5dfe231993ccea94850c7e51d
taille des données français
12 692 634 octet
hauteur français
2652 pixel
largeur français
4135 pixel
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Evla/Bartiv | Aluk | Lumeem | Favesik | Sebuks | |
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ref | 8 lerdeaksat 2015 à 01:06 | 4135 × 2652 (12,1 Mio) | Djkeddie | User created page with UploadWizard |
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Iasik va de | FFEI |
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Deteza | C-550 Lanovia |
Titre court |
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Mantuca | 5169 px |
Ontinuca | 3842 px |
Bits par composante |
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Raxivaracave | Raxivariskafa |
'Pixel' ponara | RVB |
Woyok | Nivafa |
Spertota | 3 |
Mantetaiba ke ewava | 300 pt/po |
Abrotcetaiba ke ewava | 300 pt/po |
Vuks ke origeem | Format tronçonné |
Faven talpeyot | Adobe Photoshop CS6 (Windows) |
Evla is bartiv va betara va iyeltak | 30 lerdeaksat 2013 à 14:48 |
Ksevaxo | Non calibré |
Identifiant unique du document original | adobe:docid:photoshop:3c8ab13b-cc61-11d8-b058-de3117d58bb5 |
Evla is gemelt ke vulegara | 30 teveaksat 2004 à 11:49 |
Date de la dernière modification des métadonnées | 30 lerdeaksat 2013 à 10:48 |
État des droits d’auteur | État des droits d’auteur non défini |
Version d’IIM | 4 |