William Keith, 1875 - Yosemite Valley - kunsttrykk

Produktet

Dette kunstverket fra 19-tallet Yosemite Valley was made by the artist William Keith in the year 1875. The over 140 år gammel original måler dimensjonene: 40 1/2 × 72 1/2 tommer (102,87 × 184,15 cm) og ble malt med olje på lerret. Dette kunstverket er en del av Los Angeles County Museum of Art digital collection in Los Angeles, California, United States of America. We are pleased to state that this public domain artwork is being supplied with courtesy of Los Angeles County Museum of Art (www.lacma.org).: . Besides this, the alignment of the digital reproduction is landscape with a side ratio of 16: 9, Noe som betyr at lengden er 78% lengre enn bredden.

Produktets materialvalg

For hvert kunsttrykk tilbyr vi en rekke forskjellige størrelser og materialer. Vi lar deg velge favorittstørrelse og materiale blant følgende alternativer for produktindividualisering:

• Plakatutskrift (lerretmateriale): A poster is a UV printed cotton canvas with a slightly rough finish on the surface, that reminds the original work of art. It is particularly designed for putting your art print with the help of a special frame. Please keep in mind, that depending on the absolute size of the canvas poster print we add a white margin of something between 2-6 cm around the print motif in order to facilitate the framing.
• Lerretstrykk: The UV printed canvas material mounted on a wooden stretcher frame. Further, a printed canvas makes a lovely and pleasing feeling. Canvas prints are relatively low in weight, which implies that it is easy and straightforward to hang your Canvas print without any wall-mounts. Canvas prints are suited for any kind of wall.
• Metall (aluminium dibond trykk): An Aluminium Dibond print is a print material with an outstanding effect of depth, creating a fashionable look thanks to a non-reflective surface structure. For our Print On Aluminum Dibond, we print your chosen work of art right onto the aluminium white-primed surface.
• Trykt akrylglass (med ekte glassbelegg på toppen): An print on acrylic glass, often denoted as a plexiglass print, changes an original into amazing home decoration and forms a great alternative to canvas or dibond fine art replicas. The work of art will be made thanks to state-of-the-art UV direct print technology. The major benefit of an acrylic glass fine art print is that contrasts and granular artwork details become more identifiable because of the precise gradation.

Disclaimer: We try all that we can in order to depict the art products as precisely as possible and to exhibit them visually on the product detail pages. Nonetheless, the pigments of the printed materials, as well as the printing may differ slightly from the image on your device's screen. Depending on your settings of your screen and the quality of the surface, colors might not be printed one hundret percent realistically. Considering that all the art reproductions are processed and printed manually, there might as well be minor deviations in the size and exact position of the motif.

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Beskrivelse av museets nettsider (© - av Los Angeles County Museum of Art - Los Angeles County kunstmuseum)

In the autumn of 1872 Keith made the acquaintance of John Muir when he explored the hills beyond Yosemite with the naturalist. Yosemite Valley was a product of a later trip in 1875. A dramatic, composed image, it was painted in the artist’s studio specifically as an exhibition piece. It portrays a commanding view of Cathedral Rocks, which are in the valley along a bend in the Merced River. Nothing obstructs the panoramic view. A bit of the river bank is included as a repoussoir to lead the viewer into the scene. The towering trees are arranged on the sides to permit an open vista of the cliffs. The addition of the riders, while suggesting a narrative, was also essential to the composition. Even the pile of dead tree trunks in the center of the painting was arranged so that the large logs would link the two sides of the painting. Keith created many such epic paintings during the period between his two European trips, and many of these were criticized as too artificial. Although the general appearance of this version might give the impression of a standard picturesque composition, Keith avoided the tight, linear painting style associated with the Düsseldorf school. He also escaped the pervasive grays of such German landscapes by infusing the background of Yosemite Valley with an array of soft, opalescent hues.