Picture "The Seine at Chatou" (1881), framed
Picture "The Seine at Chatou" (1881), framed
Quick info
limited, 950 copies | original Dietz replica | oil on canvas | on stretcher frame | framed | size approx. 73.5 x 89.5 cm (h/w)
Detailed description
Picture "The Seine at Chatou" (1881), framed
Original: 1881, oil on canvas, 73.3 x 92.4 cm, Boston Museum of Fine Arts, USA.
Original Dietz replica. Oil on canvas in 120 colours. Limited edition of 950 copies. Each canvas replica is stretched on stretcher frame like the original, so you can re-stretch the canvas as room temperature and humidity fluctuate. Framed with dark real wood strip. Size incl. frame approx. 73.5 x 89.5 cm (h/w).
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany Email: info@arsmundi.de
About Auguste Renoir
1841-1919
The entire oeuvre of Renoir, who was born in Limoges in 1841, is characterised by his indestructible belief in the life-giving power of nature. The luminous colours of his landscapes, the sensual grace of his paintings of women and young girls bear witness to this with their light cheerfulness.
Initially, Renoir worked as a porcelain painter and studied the work of Antoine Watteau and François Boucher at the Louvre. In 1862, he began studying at the École des Beaux-Arts, then devoted himself to open-air painting in the late 1960s under the influence of the Barbizon School. Together with Claude Monet, Frédéric Bazille and Alfred Sisley, he discovered the special advantages of painting outdoors and maintained close contacts with Camille Pissarro and Paul Cézanne. Together with Claude Monet, he invented the loose brushstroke, with which the constant changing of colours of light can be captured and is the characteristic of Impressionism. In addition to landscape paintings, he also produced portraits of his painter friends and his favourite model Lise Tréhot.
In the summer of 1869, he produced a series of paintings of the restaurant "La Grenoullière", which he frequently visited together with Monet. These light-filled paintings illustrate particularly clearly his distinctive style of fleeting brushstrokes and delicate, light colours that capture the flickering of the air as well as the glistening of the water. In addition, Renoir occasionally expressed his consideration of the works of Courbet and Delacroix through muted tonality and denser brushwork.
However, after a visit to Italy in the 1880s, Renoir abandoned Impressionism. From then on, his focus was no longer on the reproduction of atmospheric moods, but on drawing and composition in the style of Raphael and Ingres.
His late work shows a tremendous power of colour, combined with elements of drawing, which give no hint of his severe rheumatic illness, especially of his hands. With the help of a student, sculptor Maillol, he also created several bronze sculptures during this period.
The most important painter and graphic artist of Impressionism died as a world-renowned artist on 3 December 1919 in Cagnes-sur-Mer.
A revolutionary process developed by Günter Dietz for the authentic reproduction of paintings, in which not the usual printing inks are used but the same original colours used by the artist. Depending on the artist's painting technique, up to 140 (!) different layers of paint my be required to achieve a perfect replica of the original that also tangibly reproduces the "relief" and texture of the paint.
An example is August Macke's "Couple at the Garden Table":
Furthermore, the material of the original carrier is always used, meaning the reproduction is made on canvas, paper, wood, copper, or parchment.
The result is a perfect, gridless reproduction that closely resembles the original in terms of expressiveness and effect. Even museum specialists often can not distinguish the original from the replica. Therefore, a special security note must be added, which is only visible under X-rays.
The edition of most Dietz replicas is limited, usually to 950 copies. Each canvas replica is stretched onto a stretcher frame, just like the original, so that it can be re-stretched in case of fluctuations in room temperature and humidity. A high-quality solid wood frame completes the appearance every Dietz replica.
Numerous masterpiece paintings of Rembrandt, Caspar David Friedrich, Claude Monet, Gustav Klimt, and others, have been recreated by the "Dietz Offizin". Famous modern artists such as Pablo Picasso, Salvador Dalí, Max Ernst, Friedensreich Hundertwasser, Joan Miró, and Marc Chagall have used this method developed by Günter Dietz in order to have replicas of their works produced.
Press Comments:
"The Dietz System provides images as good as the originals. What electronics achieved with the invention of Hi-Fi and stereo for music playback, this technology has now done for the visual arts." (Die Zeit, German newspaper)
"In theory, there is no difference between the original and the Dietz replica. They should be called facsimiles, not reproductions." (Newsweek, US-American news magazine)
"For art printers all over the world, what Dietz has achieved with the printing technique remains an unattainable goal: the perfect reproduction of painted works." (Der Spiegel, German news magazine)
The style of Impressionism, which emerged in French painting around 1870, owes its name to Claude Monet's landscape 'Impression, Soleil Levant'. After initial rejection, it began a veritable triumphal procession.
Painters such as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in bright, natural light.
Impressionism can be seen as a reaction to academic painting. Rather than emphasizing content with a structured composition, it focused on the subject as it appears in the moment, often in a seemingly random snapshot. The reality was seen in all its variety of colours in natural lighting. Outdoor painting replaced studio painting.
Through the brightening of the palette and the dissolution of firm contours, a new approach to colour emerged. In many cases, the colours were no longer mixed on the palette but placed side by side on the canvas, so that the final impression emerged in the eye of the viewer with a certain distance. In "Pointillism", (with painters such as Georges Seurat or Paul Signac), this principle was taken to the extreme.
Outside France, Impressionism was taken up by painters such as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.
However, Impressionism was only expressed to a limited extent in the art of sculpture. In the works of Auguste Rodin, who is considered one of the main representatives, a dissolution of surfaces is evident, in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.
A true-to-the-original reproduction of an artwork in the same size and with the best possible material and colour uniformity.
The mould is usually taken directly from the original so that the replication reproduces even the finest details. After casting the replication, using the most appropriate method, the surface is polished, patinated, gilded or painted according to the original.
A replication of ars mundi is a recognizable copy of the original.