Picture "The Tegernsee", framed
Picture "The Tegernsee", framed
Quick info
limited, 950 copies | original Dietz replica | oil on canvas | on stretcher frame | framed | size approx. 46 x 59 cm (h/w)
Detailed description
Picture "The Tegernsee", framed
Original: Neue Pinakothek, Munich.
Original Dietz replica in 65 colours. Oil on canvas. Limited edition of 950 copies. Each canvas replica is stretched on a stretcher frame like the original so that you can re-stretch the canvas in case of fluctuations in room temperature and humidity. With a solid wooden frame. Size approx. 46 x 59 cm (h/w).
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany Email: info@arsmundi.de
About Georg von Dillis
1759-1841
Born on 26 December 1759 in Grüngiebing in Bavaria, Germany, Dillis received a scientific education at a grammar school when he was only six years old. As the eldest of 11 children, he owed this privilege to his godfather, Elector Maximilian III Joseph of Bavaria. Already at a young age, his artistic talent became apparent, but penniless after the death of his patron he studied philosophy and theology instead. In 1782, he was ordained as a secular priest and thereupon devoted himself again to the art of drawing, later to landscape and portrait painting. Since he also gave lessons in drawing, he became acquainted with distinguished families.
During his several travels, he produced numerous watercolour paintings of the Bavarian mountains and the surrounding area. Dillis became of special importance for Munich painting. With a dexterous technique, he translated his meticulous study of nature into the picture. In this way, he cast off the eclecticism of the late Rococo and found his way to a new naturalism. His special strength was drawing. His works already foreshadow the atmospheric landscapes he would later paint in Munich.
Dillis always paid homage to his homeland in his paintings and died in Munich on 28 September 1841.
Term used to describe the art of the 17th century. The Baroque art style, which originated in Rome around 1600, quickly spread through the visual arts, literature, and music across nerly all of Europe, lasting in the visual arts until 1770. The final phase is generally characterised by Rococo.
Characteristic features include: the pulsating movement of all forms, the abolition of boundaries between architecture, painting, and sculpture, leading to the typical "Gesamtkunstwerk" ("total work of art"), and, above all, the purposeful use of light, which became an important artistic component. The subordination of the individual parts to the whole resulted in the creation of a unified yet dynamic space, which is fully expressed in the magnificent buildings of this period.
The Baroque art, with its penchant for grandeur, splendour, and rushing abundance, clearly reflects the desire for representation, which was a concern of secular and ecclesiastical, especially the Catholic patrons strengthened by the Counter-Reformation. In painting, characteristic features of the Baroque, are manifested in altar and ceiling painting, history scences and portraits.
Typical representatives include artists such as Anthony van Dyck, Peter Paul Rubens, as well as Gian Lorenzo Bernini in the field of sculpture.
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)
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.