Bernhard Fiedler, 1854 - Veduta del Cairo - stampa d'arte

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The city of Cairo was 1853/54 led the last stop on a multi-month journey that Fiedler on behalf of the Prussian king Friedrich Wilhelm IV. Through Asia Minor, Syria, Palestine and Egypt. During this stay he painted a panorama-like view of the Egyptian metropolis, which he labeled "Cairo 1854". She is now in the Charlottenburg Palace in Berlin. In our painting is a large-scale repetition of this theme, which he made after his return to Trieste. Fiedler chose for this view a wide screen format on which he represented the city, as it presents itself from the Citadel: As almost unmistakable sea of ​​houses, gardens, mosques and minarets. The view is directed to the west and extends over the green strip along the Nile to Giza, where just perceptible lift the pyramids, against the horizon out. The center of the image are the Sultan Hassan Mosque and the expanding front Rumêle Square. The mosque, on the part of those shows where the mausoleum of Sultan is surmounted with its monumental size, the entire city, leaving the buildings next to it almost miniatures of their own will; to characterize the people at Rumêle Square meet the painter at all, only multi-colored lines and dots. Fiedler was not there in his image but the description of life (although he has with the carpet dealer in the foreground genre-like features), but a documentation of the appearance of the city. This includes the Malkafs on the roofs in the foreground (the folded tops that catch coming from the Mediterranean cool north wind, and are designed to lead to the interior of the houses), and the reproduction of the partially ruinous state of individual buildings. The picture was painted in the early hours of the forenoon, to a time of day in which the air is still clear and fresh. The deep, rich blue of the sky will lose only towards the horizon towards its intensity, where it connects to the haze of the soil and the fluidized sand. The oblique sunlight of the morning also promotes the differentiation of light and shade and allows for rich gradation within the prevailing in the city browns. The same view of Cairo was stung by Fiedler in wood and displayed in the book published by Ebers 1879/80 zweibändigem work "Egypt in words and pictures." Literature: Material collection to a Austrian artist lexicon compiled by Rudolf Schmidt, stored in the library of the Austrian Gallery in Vienna. [Sabine Grabner, in: Mayr-Oehring, Erika (ed.), ORIENT. Austrian painting from 1848 to 1914, exh. Cat. Residenzgalerie Salzburg, Salzburg 1997]

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• Stampa su vetro acrilico (con rivestimento in vero vetro): An acrylic glass print, which is often referred to as a plexiglass print, transforms your favorite original into brilliant décor and is a viable alternative to dibond and canvas art prints. The great upside of a plexiglass art print is that contrasts and granular image details become identifiable because of the very fine tonal gradation.
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View of Cairo was made by Bernhard Fiedler in 1854. The 160 year-old work of art was painted with the following size: 106 x 196 cm - frame: 114 x 207 x 4 cm and was painted on the medium olio su tela. "Signed and name on the bottom left. Bh Fiedler. in Trieste." is the painting's inscription. This artwork is included in the digital art collection of Belvedere, which is located in Vienna, Austria. Con la cortesia di: © Belvedere, Vienna, numero di inventario: 2986 (public domain license). : transfer from the Kunsthistorisches Museum, Vienna in 1929. What is more, the alignment of the digital reproduction is in paesaggio formato con un rapporto di aspetto di 2: 1, il che lo implica la lunghezza è due volte più lunga della larghezza. Bernhard Fiedler was a painter, whose artistic style can be classified as Realism. The European artist lived for 88 years - born in 1816 in Berlin, Berlin state, Germany and deceased in the year 1904 in Trieste, Trieste province, Friuli-Venezia Giulia, Italy.

Nota legale importante: We try everything in order to depict our products as accurate as we can and to illustrate them visually. Although, the pigments of the printed materials, as well as the printing can diverge somehwat from the image on your screen. Depending on the screen settings and the nature of the surface, colors might not be printed as realisitcally as the digital version shown here. Since all are processed and printed manually, there might also be slight differences in the motif's exact position and the size.

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