Picture "Grand Canal in Venice" (1874), framed
Picture "Grand Canal in Venice" (1874), framed
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ars mundi Exclusive Edition | limited, 499 copies | certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size 61.5 x 75.5 cm (h/w)
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Picture "Grand Canal in Venice" (1874), framed
Original: Oil on canvas, Shelburne Museum, Vermont. Brilliantly coloured Fine Art Giclée print on artist's canvas on a stretcher frame. Framed in a silver-black solid wood shadow gap frame. Limited to 499 copies. Includes certificate. Size 61.5 x 75.5 cm (h/w). ars mundi Exclusive Edition.
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany Email: info@arsmundi.de
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About Edouard Manet
1832-1883
Manet is one of the most important French painters of the second half of the 19th-century. Although he was one of the pioneers of the Impressionists, his style remained independent. He frequently met with the founders of Impressionism, who regarded him as a role model. Because of his encounter with Claude Monet in 1871, he was inspired to paint in the open air. In the following years, his paintings are characterised by brighter, more luminous colours and a lighter, more sketchy brushstroke.
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, 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.