Facts of art
Do you sometimes need a specific photo?

Every day people make millions of photos.
99.9% are destroyed sooner or later without receiving more than 3 to 30 seconds of attention. But you suddenly need the photo you forgot to make: the Eiffel tower, a lion, a child playing with doves.
You find it in the Internet - but all enthusiasm and spontaneity is killed when you face copyright procedures.
For you - Visipix.com collects, edits, indexes and publishes photos and art of our cultural world heritage. In print quality, for free.
Ownership of objects of art and the ownership of copyrights
It is simple: Mostly the taxpayers finance culture and give control to the "Fine Art Establishment". That is fine. We have great museums taking excellent care of the preservation of the worlds cultural heritage. It is natural that each institution protects what it considers to be its territory.

But: The rights to photograph, reproduce and use reproductions of art has absolutely nothing to do with the ownership of the phyical objects of art. The law clearly says, that 70 years after the artists death all former copyrights become public property. Your property and mine!

More and more museums and private art collectors adore copyrights and "the power of total control". While some collectors donate great works to the public, some lend their possessions occasionally for an exhibition, but under the condition that guards enforce the prohibition of photos. Visipix.com believes that the world shall not only have all legal rights for reproductions, but also unlimited accsess in the internet.
Somehow the idea creeps around that anybody approaching "the holy works of art" must justify this by solid knowledge. Some museums groom the old bias of humanitarians against technology in general and escpecially the internet. They try to keep their objects of art as far as possible away from the internet (Louvre and Tate: Their 200x160 pixel repros correspond to a view at e.g. the Mona Lisa from a distance of 30 m = 100 feet). Millions of people never enter a museum. They fear that "their sin of being ignorant" could be discovered. Visipix.com welcomes all ignorants.

Compare museums and visipix.com in the internet. The Prado offers you 21 Goyas with 360 x 360 pixels (typical picture sizes), Visipix offers 427 works with 2500 x 2200 pixels. The Rijksmuseum Amsterdam 34 Rembrandts with 1000 x 800 pixels, Visipix 187 (soon 410) works with 2500 x 2000 pixels. The Hokusai-Museum Tokyo shows ca. 1000 exhibits with 400 x 300 pixels, Visipix 2700 works, mostly with 3000 x 2000 pixels (ca. 400 first and only internet publications). The list is endless.
Soon, the Louvre will publish everything they have with a budget of 6 million EURO for 165.000 exhibits. The picture sizes of 200 x 160 pixels makes some sort of a "fingerprint list" for identification. For the public it is useless and gives no pleasure whatsoever. (Visipix has 440.000 exhibits online. The standard size is 2000 x 1600 to 3000 x 2000 pixels).

Visipix dedicated about 500 hours of hard labor to publish soon the worlds most complete set of Vincent van Goghs works (about 150 which are not in Hulskers list) with the highest repro quality.

Van Gogh had written that he would love it that people could one day see all his works together. Then they would understand his intentions. I have now gone a dozen times through all his works, and each time I discover new aspects. I understand now that Vincent van Goghs works are sermons. A favorite theme is the fact that poor persons become invisible to other people. Vincent van Gogh gives faces to the poor. If the very rich owning these pictures are aware of these faces is a open question. His "Chair with my pipe" is a very special and very intimate prayer. I understand his dreams of being "the Rembrandt of all poor potato-farmers, -harvesters, -peelers and -eaters". That he tells us about the feelings and souls of olive trees and cypresses and that, in a way, he identifies himself with cornfields under the sun and under clouds. We at visipix.com want to bring this into your homes. When we do that, we strip the 30-million-dollar price tag from his "Potato eaters". Everything is focused on the idea, the emotional and intellectual content.
Originals have a strong fetish function named "aura and authenticity". André Malraux describes in his "Musée imaginaire" that it is hard to imagine places where works of art are more "out of place" than in the art museums. The works of art are denuded of the surroundings, emotions and motivations of the artists. In my home, I meet Mona Lisa on my monitor when I am ready, in my private environment filled with my imaginations, where I can concentrate and think. The painting is reduced to its intellectual and emotional content. All infos about Leonardo, Mrs. Lisa da Vito plus sometimes Mr. da Vito come in with just a few mouseclicks.

Quality: Of course, the photo of a cathedral is inferior to the original. But the visipix facsimiles of Hokusais Mangas are superior to our originals. Why? Because the scanner has the perfect light source in the ideal angle and the scans show you the minutest details of the paper, the ink and the impressions of the woodblocks.

Japanese originals are wrong-sided for Western eyes. Visipix.com offers the mirror-function. Computerpower enables you to see Japanese pictures the way the Japanese see them. (Applies to most Near and Far East Asian art)

Also, what we finally "see" depends much more on our surroundings, feelings, moods, motivations, fears, problems, loves and desires than the fact of looking at an original or at a good repro.