Ο Μυθος Της Οδαλισκης, Ζαν Ωγκύστ Ντομινίκ Ενγκρ
Ο Μυθος Της Οδαλισκης, Ζαν Ωγκύστ Ντομινίκ Ενγκρ
Κωδικός προϊόντος: ΚΩΔ.1220
Μέγιστη εκτύπωση: 120 εκ.
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Artivity

Τα μελάνια είναι κατάλληλα για εσωτερικό χώρο, ακόμα και για παιδικό δωμάτιο. Αγαπημένοι πίνακες για μοντέρνο χώρο. Έλληνες και ξένοι καλλιτέχνες στο σαλόνι σας. Εγγύηση αποστολής. Εκτυπώστε την φωτογραφία σας, πατήστε "Οι φωτογραφίες μου" στο κάτω μέρος και δείτε πως.

Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism. Grande Odalisque attracted wide criticism when it was first shown. It has been especially noted for the elongated proportions and lack of anatomical realism. The work is housed in the Louvre, Paris. The painting was commissioned by Napoleon's sister, Queen Caroline Murat of Naples, and finished in 1814. Ingres drew upon works such as Dresden Venus by Giorgione, and Titian's Venus of Urbino as inspiration for his reclining nude figure, though the actual pose of a reclining figure looking back over her shoulder is directly drawn from the 1809 Portrait of Madame Récamier by Jacques-Louis David. Ingres portrays a concubine in languid pose as seen from behind with distorted proportions. The small head, elongated limbs, and cool color scheme all reveal influences from Mannerists such as Parmigianino, whose Madonna with the Long Neck was also famous for anatomical distortion. This eclectic mix of styles, combining classical form with Romantic themes, prompted harsh criticism when it was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content. When the painting was first shown in the Salon of 1819, one critic remarked that the work had "neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation". This echoed the general view that Ingres had disregarded anatomical realism. Ingres instead favored long lines to convey curvature and sensuality, as well as abundant, even light to tone down the volume. Ingres continued to be criticized for his work until the mid-1820s. Stemming from the initial criticism the painting received, the figure in Grande Odalisque is thought to be drawn with "two or three vertebrae too many." Critics at the time believed the elongations to be errors on the part of Ingres, but recent studies show the elongations to have been deliberate distortions. Measurements taken on the proportions of real women showed that Ingres's figure was drawn with a curvature of the spine and rotation of the pelvis impossible to replicate. It also showed the left arm of the odalisque is shorter than the right. The study concluded that the figure was longer by five instead of two or three vertebrae and that the excess affected the lengths of the pelvis and lower back instead of merely the lumbar region. Given how the duty of concubines was merely to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. While this may represent sensuous feminine beauty, her gaze, on the other hand, has been said to "[reflect] a complex psychological make-up" or "[betray] no feeling". In addition, the distance between her gaze and her pelvic region may be a physical representation of the depth of thought and complex emotions of a woman's thoughts and feelings.Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism. Grande Odalisque attracted wide criticism when it was first shown. It has been especially noted for the elongated proportions and lack of anatomical realism. The work is housed in the Louvre, Paris. The painting was commissioned by Napoleon's sister, Queen Caroline Murat of Naples, and finished in 1814. Ingres drew upon works such as Dresden Venus by Giorgione, and Titian's Venus of Urbino as inspiration for his reclining nude figure, though the actual pose of a reclining figure looking back over her shoulder is directly drawn from the 1809 Portrait of Madame Récamier by Jacques-Louis David. Ingres portrays a concubine in languid pose as seen from behind with distorted proportions. The small head, elongated limbs, and cool color scheme all reveal influences from Mannerists such as Parmigianino, whose Madonna with the Long Neck was also famous for anatomical distortion. This eclectic mix of styles, combining classical form with Romantic themes, prompted harsh criticism when it was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content. When the painting was first shown in the Salon of 1819, one critic remarked that the work had "neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation". This echoed the general view that Ingres had disregarded anatomical realism. Ingres instead favored long lines to convey curvature and sensuality, as well as abundant, even light to tone down the volume. Ingres continued to be criticized for his work until the mid-1820s. Stemming from the initial criticism the painting received, the figure in Grande Odalisque is thought to be drawn with "two or three vertebrae too many." Critics at the time believed the elongations to be errors on the part of Ingres, but recent studies show the elongations to have been deliberate distortions. Measurements taken on the proportions of real women showed that Ingres's figure was drawn with a curvature of the spine and rotation of the pelvis impossible to replicate. It also showed the left arm of the odalisque is shorter than the right. The study concluded that the figure was longer by five instead of two or three vertebrae and that the excess affected the lengths of the pelvis and lower back instead of merely the lumbar region. Given how the duty of concubines was merely to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. While this may represent sensuous feminine beauty, her gaze, on the other hand, has been said to "[reflect] a complex psychological make-up" or "[betray] no feeling". In addition, the distance between her gaze and her pelvic region may be a physical representation of the depth of thought and complex emotions of a woman's thoughts and feelings.Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism. Grande Odalisque attracted wide criticism when it was first shown. It has been especially noted for the elongated proportions and lack of anatomical realism. The work is housed in the Louvre, Paris. The painting was commissioned by Napoleon's sister, Queen Caroline Murat of Naples, and finished in 1814. Ingres drew upon works such as Dresden Venus by Giorgione, and Titian's Venus of Urbino as inspiration for his reclining nude figure, though the actual pose of a reclining figure looking back over her shoulder is directly drawn from the 1809 Portrait of Madame Récamier by Jacques-Louis David. Ingres portrays a concubine in languid pose as seen from behind with distorted proportions. The small head, elongated limbs, and cool color scheme all reveal influences from Mannerists such as Parmigianino, whose Madonna with the Long Neck was also famous for anatomical distortion. This eclectic mix of styles, combining classical form with Romantic themes, prompted harsh criticism when it was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content. When the painting was first shown in the Salon of 1819, one critic remarked that the work had "neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation". This echoed the general view that Ingres had disregarded anatomical realism. Ingres instead favored long lines to convey curvature and sensuality, as well as abundant, even light to tone down the volume. Ingres continued to be criticized for his work until the mid-1820s. Stemming from the initial criticism the painting received, the figure in Grande Odalisque is thought to be drawn with "two or three vertebrae too many." Critics at the time believed the elongations to be errors on the part of Ingres, but recent studies show the elongations to have been deliberate distortions. Measurements taken on the proportions of real women showed that Ingres's figure was drawn with a curvature of the spine and rotation of the pelvis impossible to replicate. It also showed the left arm of the odalisque is shorter than the right. The study concluded that the figure was longer by five instead of two or three vertebrae and that the excess affected the lengths of the pelvis and lower back instead of merely the lumbar region. Given how the duty of concubines was merely to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. While this may represent sensuous feminine beauty, her gaze, on the other hand, has been said to "[reflect] a complex psychological make-up" or "[betray] no feeling". In addition, the distance between her gaze and her pelvic region may be a physical representation of the depth of thought and complex emotions of a woman's thoughts and feelings.Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism. Grande Odalisque attracted wide criticism when it was first shown. It has been especially noted for the elongated proportions and lack of anatomical realism. The work is housed in the Louvre, Paris. The painting was commissioned by Napoleon's sister, Queen Caroline Murat of Naples, and finished in 1814. Ingres drew upon works such as Dresden Venus by Giorgione, and Titian's Venus of Urbino as inspiration for his reclining nude figure, though the actual pose of a reclining figure looking back over her shoulder is directly drawn from the 1809 Portrait of Madame Récamier by Jacques-Louis David. Ingres portrays a concubine in languid pose as seen from behind with distorted proportions. The small head, elongated limbs, and cool color scheme all reveal influences from Mannerists such as Parmigianino, whose Madonna with the Long Neck was also famous for anatomical distortion. This eclectic mix of styles, combining classical form with Romantic themes, prompted harsh criticism when it was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content. When the painting was first shown in the Salon of 1819, one critic remarked that the work had "neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation". This echoed the general view that Ingres had disregarded anatomical realism. Ingres instead favored long lines to convey curvature and sensuality, as well as abundant, even light to tone down the volume. Ingres continued to be criticized for his work until the mid-1820s. Stemming from the initial criticism the painting received, the figure in Grande Odalisque is thought to be drawn with "two or three vertebrae too many." Critics at the time believed the elongations to be errors on the part of Ingres, but recent studies show the elongations to have been deliberate distortions. Measurements taken on the proportions of real women showed that Ingres's figure was drawn with a curvature of the spine and rotation of the pelvis impossible to replicate. It also showed the left arm of the odalisque is shorter than the right. The study concluded that the figure was longer by five instead of two or three vertebrae and that the excess affected the lengths of the pelvis and lower back instead of merely the lumbar region. Given how the duty of concubines was merely to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. While this may represent sensuous feminine beauty, her gaze, on the other hand, has been said to "[reflect] a complex psychological make-up" or "[betray] no feeling". In addition, the distance between her gaze and her pelvic region may be a physical representation of the depth of thought and complex emotions of a woman's thoughts and feelings.

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αλλά πάντα μπορείτε να το τροποποιήσετε στην σελίδα που θα μεταφερθείτε.

Εσείς ρωτάτε, εμείς απαντάμε

Φυσικά. Εδώ στην artivity μπορούμε να προχωρήσουμε στη δημιουργία του ιδανικού σας κάδρου. Για να δείτε όλες τις δυνατές επιλογές, πατήστε στην επιλογή "Καμβάς" ή "Αφίσα" στο πάνω μέρος. Στην εργαλειοθήκη δεξιά της οθόνης στην καρτέλα "Διαστάσεις & επιλογή τύπου" και συγκεκριμένα στις “Διαστάσεις εκτύπωσης” επιλέγουμε Προσαρμοσμένες διαστάσεις, και ένα νέο παράθυρο θα εμφανιστεί όπου μπορείτε να βάλετε τις δικές σας διαστάσεις. Η προσομείωση θα ακολουθήσει τις επιλογές σας, παραμορφώνοντας πιθανόν την εικόνα. Δεν υπάχει όμως λόγος ανησυχίας. Παρέχουμε τις υπηρεσίες μας με τον πιο αξιόπιστο τρόπο. Το καλλιτεχνικό μας τμήμα, την εξετάζει, και σε περίπτωση που υπάρχει παραμόρφωση θέματος, σας φτιάχνει λεπτομερής προεπισκόπηση και σας το στέλνουμε να το δείτε ώστε να επιβεβαιώσετε την παραγγελία σας. Τίποτα δεν προχωράει αν πρώτα δεν ικανοποιηθείτε απόλυτα. *Υπάρχει η δυνατοητα κατόπιν συνεννόησης, να ζητήσετε διαστάσεις ακόμη και με δεκαδικό (πχ 55,4 Χ 67,2 εκ.)
Πλαϊνή εκτύπωση καμβά
Στον τελειωμένο πίνακα, η επιφάνεια η πλαϊνή, δηλαδή η εξωτερική περίμετρος του καμβά, είναι εκτυπωμένη, για αισθητικούς λόγους. Έτσι ολοκληρώνεται το φινίρισμα. Ο καμβάς σας πλέον μπορεί να αναρτηθεί ακόμη και χωρίς κορνίζα: Απευθείας. Για περισσότερες λεπτομέρειες, μπορείτετε να διαβάσετε εδώ.
Το κόστος συσκευασίας και αποστολής είναι 7 ευρώ (εντός Ελλάδος). Αφορά ολόκληρη παραγγελία, ακόμη κι αν περιέχει περισσότερα του ενός αντικείμενα. Σε πολύ ειδικές περιπτώσεις, μπορεί να μεταβληθεί ελαφρά ανάλογα με το πλήθος των εμπορευμάτων και τον προορισμό. Ωστόσο για οτιδήποτε προκύψει σας ενημερώνουμε εκ των προτέρων. Στόχος μας είναι να έχετε την πιο απροβλημάτιστη αλλά και οικονομική παραλαβή για τα προϊόντα σας. Σε περίπτωση που η παραγγελία σας τυγχάνει δωρεάν εξόδων αποστολής, λόγω προωθητικής ενέργειας, θα γίνει αυτόματη ενημέρωση στο καλάθι αγορών σας, πριν την ολοκλήρωση της παραγγελίας σας. Η αποστολή γίνεται με ACS Courier. Σας ενημερώνουμε τη μέρα που το δέμα σας ξεκινάει από τα κεντρικά μας και σας δίνουμε και αριθμό ανίχνευσης δέματος (tracking number) με τον οποίο μπορείτε να βλέπετε την πλήρη πορεία. Η διάρκεια ταξιδιού της παραγγελίας για προορισμούς εντός Ελλάδας είναι συνήθως 1-2 εργάσιμες ημέρες. Για περισσότερες λεπτομέρειες, μπορείτετε να διαβάσετε εδώ.
Το λογότυπο της εταιρείας μας (Artivity) ή συνεργαζόμενης εταιρείας (Bigstock) δεν θα υπάρχει στο τελικό αποτέλεσμα.
Ο χρόνος ολoκλήρωσης, κυμαίνεται από 4 έως 9 εργάσιμες ημέρες, ανάλογα με το είδος της παραγγελίας. Οι εκτυπώσεις αφισών ολοκληρώνονται συνήθως σε 4 έως 5 εργάσιμες. Ο καμβάς σε 6 περίπου εργάσιμες αν δεν έχει βερνίκια και σε 7 έως 9 αν έχει και επξεργασία βερνικιών. Αυτό το διάστημα κρίνεται απαραίτητο για να εξασφαλίσουμε τη σωστή ολοκλήρωση και ποιότητα των προϊόντων.
Ναι, εδώ στην Artivity μπορείτε να εκτυπώσετε την δική σας φωτογραφία με τις ίδιες δυνατότητες και επιλογές που βλέπετε στην σελίδα. Πατήστε “Αγαπημένα μου” κάτω από το καλάθι, και στην σελίδα που θα φορτώσει μπορείτε να ανεβάσετε την εικόνα σας. Εναλλακτικά, στείλτε μας την εικόνα στη διεύθυνση artivity.gr@gmail.com μαζί με τηλέφωνο επικοινωνίας και θα σας καλέσουμε για λεπτομέρειες.
Θα χαρούμε να επικοινωνήσουμε μαζί σας για κάθε διευκρίνιση.
  1. Μπορείτε να μας καλέσετε απευθείας στο τηλέφωνο (+30) 2615006631 ή στο (+30) 6978111161
  2. Στείλτε μας e-mail στο info@artivity.gr
  3. Συμπληρώστε τη φόρμα επικοινωνίας. Σε αυτή τη φόρμα συμπληρώνετε πολύ εύκολα μερικά βασικά σημεία και γράφετε κάποια σχόλια, για το θέμα που σας αφορά. Ειδικά για θέματα διακόσμησης σας δίνει διευκόλυνση, γιατί περιέχει μερικές τυποποιημένες ερωτήσεις (όπως π.χ διαστάσεις, τι υλικό θέλετε κλπ).


Art by Nikos Costantareas


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