Picture "Paris, le Pont des Arts" (1925), framed
Picture "Paris, le Pont des Arts" (1925), framed
Quick info
ars mundi Exclusive Edition | limited, 980 copies | numbered | certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size 56 x 71 cm (h/w)
Detailed description
Picture "Paris, le Pont des Arts" (1925), framed
Original: 1925, oil on canvas, 89 x 116 cm, private property.
Edition transferred directly onto artist's canvas using the Fine Art Giclée process and stretched onto a stretcher frame. Limited edition of 980 copies, numbered, with certificate. Framed in a handmade, white-golden solid wood frame. Size 56 x 71 cm (h/w). ars mundi Exclusive Edition.
About Paul Signac
1863-1935
The colours should not be mixed on the palette, but in the observing eye. That was the basic idea that Paul Signac adopted from Seurat in 1884. He executed it on canvas with meticulously placed dabs of colour and profound knowledge of optics and perceptual physiology.
Pointillism is a neo-impressionist art movement that resulted in masterpieces that can hardly be surpassed in their luminosity through the cleverly thought-out use of competing and corresponding primary colours.
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.