Picture "The Haystacks, Autumn" (c. 1874), framed
Picture "The Haystacks, Autumn" (c. 1874), framed
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limited, 199 copies | numbered certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size 55 x 69 cm (h/w)
Detailed description
Picture "The Haystacks, Autumn" (c. 1874), framed
The French masterpieces of the 19th century from the Metropolitan Museum of Art in New York as special guests in Berlin, Neue Nationalgalerie, from 1 June to 7 October 2007! Accompanying this exhibition, the most outstanding paintings of the exhibition were published in a limited edition of only 199 copies each: The high-quality museum reproductions were worked by hand onto artists' canvas and stretched on stretcher frames. The canvas structure is tangible and visible. Relief-like brush structures are intricately applied by hand. Exquisite solid wood framing underlines the exclusive appearance. With numbered certificate of limitation on the back.
High-quality reproduction using the Fine Art Giclée process directly onto the artist's canvas, stretched on a stretcher frame. Limited edition of 199 copies. With solid wood museum frame. Size 55 x 69 cm (h/w).
Giclée = derived from the French verb gicler "to squirt, spurt".
The giclée method is a digital printing process. It is a high-resolution, large-format printout on an inkjet printer with special different-coloured dye- or pigment-based inks (usually six to twelve). The colours are fade-proof, i.e. resistant to harmful UV light. They have a high richness of nuance, contrast and saturation.
The giclée process is suitable for art canvases, handmade and watercolour paper as well as for silk.
The style of Impressionism, which emerged in French painting around 1870, owes its name to Claude Monet's landscape 'Impression, Soleil Levant'. After initial rejection, it began a veritable triumphal procession.
Painters such as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in bright, natural light.
Impressionism can be seen as a reaction to academic painting. The emphasis was not on content with its strict rules of painting structure, but on the object as it appears at any given moment, in an often random cut out. The reality was seen in all its variety of colours in natural lighting. The Studio painting was replaced by open-air painting.
Through the brightening of the palette and the dissolution of firm contours, a new approach to colour emerged. In many cases, the colours were no longer mixed on the palette but side by side on the canvas so that the final impression lies in the eye of the viewer with a certain distance. In "Pointillism", (with painters such as Georges Seurat or Paul Signac) this principle was taken to the extreme.
Outside France, Impressionism was taken up by painters such as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.
However, Impressionism was only expressed to a limited extent in the art of sculpture. In the works of Auguste Rodin, who is considered one of the main representatives, a dissolution of surfaces is evident, in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.