Umelecké dielo zobrazené na tejto stránke je chránené autorským zákonom, čo znamená, že nemôžeme legálne vytvárať ani predávať jeho identickú reprodukciu. Táto ochrana je vymáhaná na základe medzinárodných dohôd, ako napríklad Bernská konvencia a národnými zákonmi, vrátane tých, ktoré sú stanovené v Autorské právo USA – Title 17. Všetky práva vyhradené.
Táto metóda plne dodržiava autorské práva, pretože nezahŕňa kopírovanie ani duplikovanie chráneného diela. Ide skôr o kreatívnu reinterpretáciu – nový obraz, ktorý je ovplybnený originálom, no nie je s ním identický.
Giclée tlač alebo plátno múzeálnej kvality s rýchlou výrobou a rôznymi možnosťami povrchovej úpravy. (
Kúpiť ručne maľovaný obraz Prepnúť na digitálny obraz)
Vyberte si z našich preddefinovaných rozmerov, ktoré zodpovedajú pôvodným pomeroḿ diela.
Zadajte šírku a výšku, ktoré potrebujete, aby sa reprodukcia hodila k vášmu rámu alebo stene. Print možno len orezávať, nikdy však nemennú veľkosť zvětšiť oproti pôvodnému obrázku, preto pri inom formáte stráca časť obrazu. Pred samotným vytlačiacím procesom vám pošleme digitálny náhľad na schválenie. Obrázok zobrazený na tejto stránke nezobrazuje reálny rez — len digitálny náhľad ukazuje presný výsledok.
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Self-Portrait with White Cap
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Step closer and observe the man before us. In this 1935 oil portrait, we encounter an elderly figure caught in a moment of profound stillness. He is positioned slightly off-center, his presence felt through a medium close-up that brings us face-to-face with his weathered features. A dark hat sits low upon his brow, and his gaze, framed by spectacles, suggests a mind turned inward. There is a certain dignity in his composure, even as he holds a thin cigarette, the rising wisps of smoke adding a vertical movement to an otherwise stationary scene. The background remains a pale, desaturated greenish-beige, providing a muted stage that allows the darker tones of his suit and the textures of his white beard to emerge with clarity.
The artist has moved away from precise, clinical lines in favor of a more painterly approach. You can see the physical weight of the paint here; thick, impasto strokes create a tactile surface, particularly where light catches the highlights of the face and the drifting smoke. This heavy application of pigment gives the portrait an almost sculptural quality. The lighting is soft, appearing to descend from the upper left to cast gentle shadows that define the contours of the man's cheek and the structure of his clothing. Through these earthy tones—deep browns, blacks, and grays—the work achieves a sense of weight and character. It is a study in light manipulation, where the focus remains on the emotional gravity of the subject rather than mere anatomical accuracy.
Farby v díle „Self-Portrait with White Cap“ od Max Kaus majú Balanced intenzitu.
Vzhľadom na dátum jej vzniku (1935) patrí dielo „Self-Portrait with White Cap“ do obdobia Surrealist Period umelca Max Kaus.
„Self-Portrait with White Cap“ vzniklo v roku 1935 technikou Oil On Canvas.
Max Kaus was a German painter, printmaker, graphic artist, and lithographer. Born in Berlin, Germany, his early training took place at the Study Institute of the Decorative Arts Museum in Berlin between 1908 and 1913. During the First World War, he served as a medical orderly and ambulance driver in western Flanders. It was during this time in Ostend that he learned to make lithograph prints, utilizing a printing press constructed from timber recovered from a destroyed railway station. Upon returning to Berlin in 1918, he acquired his own lithography equipment, which became a foundation for much of his subsequent artistic output.
His career saw significant shifts in subject matter and style. While he was widely recognized for his landscape works—drawing inspiration from travels within Germany, Austria, and northern Italy—he also worked extensively on portraiture. His post-war output was characterized by a shift where form began to dominate content. His later creative years included several distinct categories of work:
Beyond his personal practice, Kaus was an influential teacher. He held a professorship teaching landscape art at the Kunstgewerbe- und Handwerkerschule in Berlin, and later served as a professor and head of the department for "Freie Kunst" at the Hochschule für Bildende Künste in Berlin. He also served as the deputy director at the academy.
Kaus was a member of the German Artists' Association, serving on its executive board and as deputy chair. His surviving works are catalogued and indexed, with his literary estate held at the German National Arts Archive in Nuremberg.
1891 - 1977 , Germany
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