Muuseumikvaliteediga giclée- või kangasprint kiire tootmisega ja paindlikud viimistlusvõimalused. (
Osta käsitsi maalatud teos Lülita digitaalse pildi juurde)
Vali meie eelmääratud suurused, mis vastavad teose algupärastele proportsioonidele.
Sisestage vajalik laius ja kõrgus, et see sobiks teie raamile või seinale. Trükki saab ainult lõigata, seda ei saa kunagi pildist suuremaks teha, seega ka erineva mustega suurus kaotab osa pildist. Enne trükkimist saadame teile kinnitamiseks digitaalse näidisprojektsiooni. Sellel lehel näidatud pilt ei kujuta reaalset lõiget — seda näitab ainult näidisprojektsioon.
Ülemaailmne tarne () 2 nädala jooksul, tavalise 4/5 nädala asemel. (12 november)
Three Tabletop Games
Reproduktsiooni suurus
Jah – teos asub kunstniku kodumaal. Teost "Three Tabletop Games" hoivadatud Japan, samal ajal sündis Torii Kiyomitsu riigis Japan.
Teose "Three Tabletop Games" trükised on saadaval vormis kunstiprint puuvillalõikel kangas või arhiveeritaval kangaspaberil. Tellimusi saab esitada selle Kvaliteetne kunstutrüki print lehel oma soovitud suuruses.
Teose „Three Tabletop Games“, autor Torii Kiyomitsu värvimaailm: Neutrals palett, mille domineerib Putty (#dad4b6).
Edo, 1735. A child named Kamejirō enters a world defined by the lineage of the Torii school. He is the son of Torii Kiyonobu II, born into a family that holds a near monopoly on the visual language of the kabuki theater. As he grows, the name Kamejirō fades, replaced by the professional identity of Torii Kiyomitsu.
The workshop functions with a specific, rhythmic purpose. It produces the signboards and promotional materials that announce the arrival of great actors to the masses. For much of his early career, Kiyomitsu operates within these established boundaries. He utilizes the benizuri-e technique, a method of printing that relies on only one or two colors of ink on woodblocks. There is no need for hand-coloring when the graphic impact of pink and green can command the attention of a passing crowd in the entertainment district.
The year 1765 marks a technical rupture. The arrival of full-color prints changes the visual landscape of the floating world. Kiyomitsu does not merely observe this change; he integrates it. His work begins to move beyond the rigid, bombastic lines of his predecessors toward something more nuanced.
While the Torii tradition remains rooted in yakusha-e, or actor prints, Kiyomitsu expands the school's repertoire. He turns his attention to bijinga—pictures of beautiful women. In these works, a different kind of grace emerges. The heavy, theatrical energy of kabuki posters gives way to a dream-like quality in his depictions of young men and women. This period sees him working alongside Suzuki Harunobu, a contemporary whose innovations in multi-block printing redefine the medium.
His subjects vary across the spectrum of Edo life:
The workshop flourishes under his direction, maintaining the core Torii style while allowing for new textures. He remains a bridge between the old, heavy-lined tradition of Kiyonobu II and the more refined, flowing aesthetics of the next generation. His influence is visible in the hands of those he trained.
Two names emerge from his tutelage as significant successors:
When Kiyomitsu dies on May 11, 1785, he leaves behind a school that has successfully navigated the transition from simple promotional tools to a sophisticated form of popular art. The bold lines of the past have been tempered by the delicate colors of his era.
1735 - 1785 , Japan
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Klaasivalik on saadaval ainult kuni 110 cm suuruses teostes
