Picture "Two Women in the Garden (In the Arbour)" (1892), framed
Picture "Two Women in the Garden (In the Arbour)" (1892), framed
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ars mundi Exclusive Edition | limited, 499 copies | numbered | certificate | reproduction, Giclée print on canvas | stretcher frame | museum frame | size 66 x 78 cm
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Picture "Two Women in the Garden (In the Arbour)" (1892), framed
Although they avert their gaze from another and focus entirely on their handiwork, Krøyer still was able to convey a sense of calm and serene togetherness. This picture is almost capable of calming the noise and the hustle and bustle of an entire room.
Original: Oil on canvas, Museum of Art and Culture, Lübeck.
Fine Art Giclée directly onto artist's canvas and mounted on a stretcher frame. Framed in museum frame. Limited edition of 499 copies, numbered on the back and with certificate. Size 66 x 78 cm. Exclusively at ars mundi.
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany, [email protected]
About Peder Severin Kroyer
1851-1909
In Denmark and Norway, everyone knows Peder Severin Krøyer. The Norwegian-Danish painter is the icon of Nordic Impressionism.
Krøyer entered the Royal Danish Academy of Art at the age of 14. As a young artist, he travelled extensively to Spain, Italy and especially France from 1877 to 1881, where he studied the Impressionists in Paris. In the summer of 1882, Krøyer came to Skagen for the first time, where he spent every summer from then on and became the main representative of the artists' colony there.
His paintings show the carefree life of the artists, their parties, walks on the beach and atmospheric evenings in the moonlight.
It is not only his technical mastery and virtuoso handling of pictorial composition and colour coordination that make Krøyer a great master. It is also his precise powers of observation and the fact that the perfectly captured moods of his pictures have an almost immediate effect on the viewer.
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.
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Depiction of typical scenes from daily life in painting, with distinctions between rural, bourgeois, and courtly genres.
The genre reached its peak and immense popularity in Dutch paintings of the 17th century. In the 18th century, especially in France, the courtly and gallant painting became prominent, while in Germany, a more bourgeois character developed.
Giclée = derived from the French verb gicler "to squirt, to spray".
The Giclée method is a digital printing process. It is a high-resolution, large-format print produced with an inkjet printer using special different-coloured dye- or pigment-based inks (usually six to twelve). The inks are lightfast, meaning they are resistant to harmful UV light. They provide a high level of nuance, contrast, and saturation.
The Giclée process is suitable for art canvases, handmade paper and watercolour paper as well as 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. 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.