Picture "Flower Still Life in the Open Air" (1917), black and golden framed version
Picture "Flower Still Life in the Open Air" (1917), black and golden framed version
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ars mundi Exclusive Edition | limited, 980 copies | numbered certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size 53 x 68 cm (h/w)
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Picture "Flower Still Life in the Open Air" (1917), black and golden framed version
Max Slevogt (1868-1932) is considered one of the great German Impressionists, alongside Lovis Corinth and Max Liebermann. But the categorisation must be taken with a grain of salt. This became clear in 2018, when a major exhibition at the Landesmuseum Hannover on the 150th anniversary of his birth presented the wide range of his work - as a painter, as a graphic artist, as an illustrator and as a stage designer. According to an article by Frank G. Kurzhals published in the German art magazine "Weltkunst", the exhibition finally showed him as an "equilibrist between styles" and as a representative of "an art that not only reproduces what is visible but also tries to make it visible". The work "Flower Still Life in the Open Air" was also exhibited; it belongs to the Landesmuseum's collection.
Original: 1917, oil on canvas, size 63 x 82.5 cm (h/w), property of the City of Hanover.
Brilliant, authentic edition in a limited edition of 980 copies with numbered certificates on the back. Fine Art Giclée on 100% cotton artist canvas, stretched on wooden stretcher frame. Framed in black and golden solid wood frame. Size 53 x 68 cm (h/w). ars mundi Exclusive Edition.
Frame configurator
Customised picture frame
Frame configurator
Customised picture frame
Graphic or sculpture edition that was initiated by ars mundi and is available only at ars mundi or at distribution partners licensed by ars mundi.
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.