Picture "Venice, the Pink Cloud" (1909), framed
Picture "Venice, the Pink Cloud" (1909), framed
Quick info
limited, 499 copies | certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size approx. 68 x 85 cm (h/w)
Detailed description
Picture "Venice, the Pink Cloud" (1909), framed
Original: 1909, oil on canvas, Graphic Collection Albertina, Vienna.
Reproduced using the Fine Art Giclée process directly onto cotton canvas and mounted on a solid wooden stretcher frame for a brilliant, authentic reproduction. Limited edition of 499 copies, with certificate. Framed in a handmade real wood frame. Size approx. 68 x 85 cm (h/w).
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany Email: info@arsmundi.de
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.
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.