Picture "The Harbour at Sunset, Opus 236 (Saint-Tropez)" (1892), framed
Picture "The Harbour at Sunset, Opus 236 (Saint-Tropez)" (1892), framed
Quick info
limited, 500 copies | reproduction on handmade paper | framed | passe-partout | glazed | size 70.2 x 84 cm (h/w)
Detailed description
Picture "The Harbour at Sunset, Opus 236 (Saint-Tropez)" (1892), framed
In 1892, Paul Signac moved his yacht to Saint-Tropez (then a fishing village like many others), where he purchased a house by the sea. In the same year, he painted "The Harbour at Sunset, Opus 236 (Saint-Tropez)". It is one of his first pointillist works.
Original: 1892, oil on canvas, 65 x 81.3 cm, Barberini Museum Potsdam, Hasso Plattner Collection.
5-colour edition produced using a hybrid process on 260g Rives handmade paper. Framed in a solid wood frame with a passe-partout, dust-proof glazing. Size 70.2 x 84 cm (h/w). Limited edition of 500 copies. © Hasso Plattner Collection.
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany, [email protected]
About Paul Signac
1863-1935
Paul Signac is one of the most important representatives of Neo-Impressionism. Together with Georges Seurat, he developed the technique of Pointillism, in which countless small dots of colour merge to form luminous compositions. Through the carefully considered use of contrasting and corresponding primary colours, and a profound knowledge of optics and the physiology of perception, he created masterpieces whose radiance is scarcely surpassed.
Signac's paintings are characterised by an extraordinary abundance of light and a harmonious use of colour, transforming landscapes, harbours and coastal scenes into poetic pictorial worlds. His work combines scientific colour theory with artistic sensitivity and opens up to the viewer a vision of calm, clarity and Mediterranean joie de vivre.
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. Rather than emphasizing content with a structured composition, it focused on the subject as it appears in the moment, often in a seemingly random snapshot. The reality was seen in all its variety of colours in natural lighting. Outdoor painting replaced studio 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 placed side by side on the canvas, so that the final impression emerged 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.