Choir Boy
- 85.0 x 65.0cm
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美術館にあるような、銘板（ネームプレート）を。
刻印入りブロンズプレートの詳細
This elegant plaque features the artist's name and the title of the artwork, finely engraved for a timeless presentation.
It is made from bronze with a refined, elegant finish. The text is precisely laser-engraved for a sharp and permanent result. Measuring 9x2 cm, the plaque is compact yet easy to read. It's built to be durable and scratch-resistant, offering a professional, museum-quality look. Mounting is simple thanks to the included adhesive backing.
透明アクリル銘板の詳細
The plaque includes essential engraved details such as the artist's name, the title of the artwork, the date it was created, the type of media used-like oil on canvas or watercolor-a brief description of the piece, and a QR code that links to the complete artwork information.
It is crafted from clear acrylic, offering a sleek, modern appearance. The text is UV-engraved in black to ensure strong visual contrast. With a size of 10x15 cm, it ensures optimal readability. It comes equipped with two metal hooks for secure wall mounting. The plaque is designed to be weather-resistant, making it suitable for various environments, and it includes interactive features that work seamlessly with smartphone scanning.
黒アクリル製銘板の詳細
This elegant plaque includes engraved information such as the artist's name, the title of the artwork, the date it was created, the type of media used (like oil on canvas or watercolor), a short description of the artwork, and a QR code for quick access to more information.
The plaque itself is made from refined black acrylic with a premium finish. The text is laser-engraved in white for high contrast and readability. Its size is 10x15 cm, designed to be easy to read. It comes with two metal hooks for professional mounting. The design is sleek and fits any interior style. It is also weather-resistant and durable, with built-in digital integration for mobile compatibility.
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Choir Boy
再現技法
複製画サイズ一覧
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至高の熟練アーティスト
より細部までこだわった表現、洗練された技術、そして十分な制作時間
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複製画用フレーム
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いずれかの辺が105 cm（約41インチ）を超えるアートワークまたは複製画の場合、フレームは分解されたキットの状態でお届けいたします。この方法は、輸送中の破損を防ぎ、安全に配送するために採用しております。
組み立てには専門知識が必要です（DIY用製品ではありません）。
本キットは、経験豊富なプロの額装師が、木工用ボンド（別売）、キャンバス用プライヤー、およびボンドの乾燥時に桟を直角に保持するためのクランプを使用して、組み立ておよびキャンバスの張り作業を行う必要があります。不適切な組み立てやキャンバスの張りの不均一は、作品に永久的な損傷を与える恐れがあり、弊社の保証対象外となります。
いずれかの辺が105 cm（約41インチ）を超えるアートワークまたは複製画の場合、フレームは分解されたキットの状態でお届けいたします。この方法は、輸送中の破損を防ぎ、安全に配送するために採用しております。すべての無垢材のパーツが含まれており、組み立てに最適なサイズに正確にカットされています。
付属のネジを使用し、角の接合部には別途木工用ボンドをご用意ください（ボンドは付属しておりません）。ボンドは額装業者様にてご手配をお願いいたします。
プロ仕様の道具が必要ですが、キットには含まれていません：キャンバス用ストレッチングプライヤー（テンショナー）、および接着剤が乾燥するまで木枠を直角に固定するためのクランプ。
重要：
コーナーの接合部には木工用ボンドが必要です。また、ボンドが完全に乾くまでクランプでバーを固定しておく必要があり、組み立てたフレームにキャンバスを張るにはキャンバス用ストレッチングプライヤーが必要となります。これらの道具はキットに含まれておりません。このサイズをご注文される前に、経験豊富なプロの額装師（フライマー）の手配をお願いいたします。
キャプション
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保護用ワニス
光沢ワニス（色彩を鮮やかに引き立て、光や湿気から保護します）
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お急ぎ便
世界中への配送（）は、通常の5週間ではなく、3〜4週間でお届けいたします。（21 11月）。品質には一切の妥協を許しません。
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お急ぎ便
世界中への配送（）は、5週間ほどでお届けします。（28 11月）。
込み
合計金額
¥ 41249
ガラスオプションは、110cm未満のサイズでのみご利用いただけます。
すべての注文に同梱
- 世界中へ無料エクスプレス配送
- 高品質なリネンキャンバス
- 配送時完全保険付
- 関税・輸入税の払い戻し保証
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- 100日間返品保証（製造上の欠陥がある場合のみ）
- 100% 全額返金保証
- まとめ買い割引のご案内
Identification of the Portrait by Julius Scholtz
The oil on canvas painting titled Choir Boy, also known as Chorknabe, was executed by the artist Julius Scholtz. This work was created about 1854. The portrait focuses on a single young subject, presented in a vertical composition that captures the figure from the waist up.
Julius Scholtz was born in 1825 in Wrocław, Poland. His career as a painter spanned several decades until his death in 1893 in Dresden. The technical foundation of his practice was established at the Dresden Academy of Fine Arts, where he studied under Julius Hübner.
This specific piece, Choir Boy, belongs to the academic tradition of German painting. The subject is depicted in a formal, reverent pose, holding a silver thurible from which smoke rises. The work is held within the collection of the Alte Nationalgalerie Berlin, which is part of the Staatliche Museen zu Berlin.
Visual Composition and Subject Matter
This vertical portrait focuses on a young choir boy from the waist up. The subject is positioned slightly off-center against a dark, muted brown background. He maintains a formal and reverent pose, holding a silver thurible from which smoke rises. The perspective is set at eye-level, establishing a direct connection between the viewer and the subject.
The color palette is defined by the deep red of the boy's vestments and the creamy white of his surplice. Chiaroscuro-style lighting illuminates the boy's face and the front of his garments, creating depth against the dark backdrop. The light catches the metallic sheen of the thurible and the delicate lace trim of the surplice, while the soft skin of the boy's face remains a central point of focus.
Technical Details and Artistic Style
Executed in oil on canvas, this work measures 85 x 65 cm. The painting adheres to the principles of Academic Realism, utilizing smooth brushwork to achieve a high degree of anatomical accuracy in the subject's features. Soft and organic lines define the various forms, particularly within the folds of the fabric and the curls of the hair. The composition relies on a chiaroscuro-style lighting arrangement, where a soft light source illuminates the face and the front of the garments against a dark, muted brown background.
The technical execution emphasizes specific material textures through precise application of paint. The white surplice features a detailed rendering of delicate lace trim, while the silver thurible displays a metallic sheen. These details contrast with the soft rendering of the boy's skin. The vertical orientation of the portrait focuses the viewer's attention on the interplay between the deep red of the vestments and the creamy white of the liturgical attire.
Current Collection and Museum Location
This oil on canvas work is held within the collections of the Staatliche Museen zu Berlin. It is specifically situated in the Alte Nationalgalerie Berlin. The museum identifies this particular piece by the inventory number A III 354.
The subject matter of the painting places it within the categories of Liturgy and Catholicism. It is also classified under the category of Children in art. These designations reflect the religious and age-specific themes present in the composition.
Q&A
「Choir Boy」は、Julius Scholtzの作品群の中でどのような位置を占めているのでしょうか？
Julius Scholtzの作品群において、「Choir Boy」はAcademic Realism様式に属しており、dresden academy training, julius hübner influence, german academic tradition, religious and liturgical themes, portraiture and history paintingというテーマを共有しています。
Julius Scholtz作「Choir Boy」は、どのような色彩の調和を見せていますか？
Julius Scholtz作「Choir Boy」は、Unified Paletteな色彩の調和を見せています。
Julius Scholtz作「Choir Boy」に似た作品はどこで見つけることができますか？
Julius Scholtz作「Choir Boy」に似た作品は、こちらの関連作品ページでご覧いただけます。
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統計情報関連作品
Julius Scholtz
1825 - 1893, Poland
作家プロフィール
Early Life, Family and Training
Gottfried Julius Scholtz entered the art world from Breslau, Poland, where he was born in 1825. His technical foundation was built at the Dresden Academy of Fine Arts. This training was not merely academic; it was a direct lineage of skill acquired under the instruction of Julius Hübner. This connection placed Scholtz within a specific tradition of German painting, focusing on the precision required for both history and portraiture.
The discipline Scholtz developed during these formative years dictated the trajectory of his career as a history and portrait painter. His ability to handle complex subjects was rooted in this rigorous academic environment. Artistry was a family matter for the Scholtz name; his son, Walther, followed his father's path to become a painter himself. This continuity suggests a household defined by the technical demands of the craft.
Professional Career and Academic Life
Scholtz’s professional trajectory was marked by early institutional recognition. Following his studies, he held his first exhibition at the Dresden Academy of Fine Arts in 1858. His technical proficiency in historical subjects was validated in 1862 when the Association for Historical Art granted one of his works an award. This period established him as a significant figure within the German academic tradition, a status confirmed by his memberships in the academies of Berlin and Munich.
His influence extended into the realm of pedagogy and institutional leadership. In 1874, he was appointed a Professor at the Dresden Academy, a position that coincided with a period of intense professional demand. While his reputation as a painter grew, he maintained a presence in the graphic arts, remaining active as an illustrator until 1885. His career was defined by this dual capacity to produce large-scale historical works while maintaining a rigorous academic presence.
Patrons, Workshop and Commissions
Scholtz’s professional standing was cemented by the high-profile nature of his patrons. In 1866, his work gained significant institutional recognition when a piece was purchased for King John of Saxony. This period of success was marked by a notable international presence; between 1863 and 1867, he lived in St. Petersburg. During this time, he executed six larger than life-size portraits of members of the Kap-herr family, demonstrating a capacity for large-scale figurative work that demanded both technical precision and physical space.
His ability to handle historical narratives led to significant public commissions. In 1873, he was among eleven artists selected to provide decorative paintings for the restoration of the Albrechtsburg. This project resulted in a series of nine historical murals depicting scenes from the life of Albert III, Duke of Saxony. These works, which took until the mid-1880s to complete, established him as a specialist in historical mural painting. However, the demand for his portraiture was so high that he eventually had to refuse many subsequent mural commissions to manage his workload.
Later Years and Death
The final chapter of Scholtz's life was marked by a high level of professional recognition that coincided with his passing. In 1893, the same year he died in Dresden, the National Gallery in Berlin organized a comprehensive special exhibition of his works. This retrospective confirmed his standing within the German art scene, moving his reputation beyond the local academic circles of Saxony. He was interred at the Trinitatisfriedhof in Dresden, leaving behind a legacy that extended into the next generation through his son, Walther, who also pursued a career as a painter.
His presence in the urban fabric of Dresden remains tangible. A street in the Mockritz district of the city bears his name, a permanent marker of his historical footprint in the region. Scholtz's career concluded after decades of balancing the demands of academic teaching, portraiture, and large-scale mural work. He died in 1893, leaving a body of work that spanned from intimate illustrations to significant historical decorations.