Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Herbstlandschaft - Camille Pissarro
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
Eine fesselnde Herbstszene von Camille Pissarro, im impressionistischen Stil gemalt. Das Gemälde fängt die Schönheit der Jahreszeit mit lockerer Pinselführung und einer warmen Farbpalette ein.
Dieses Ölgemälde auf Leinwand evoziert die vergängliche Schönheit des Herbstes. Die Komposition konzentriert sich auf eine Baumgruppe, deren Blätter in herbstlichen Farbtönen leuchten. Die Pinselführung des Künstlers ist locker und ausdrucksstark und fängt die flüchtigen Effekte von Licht und Atmosphäre ein, ein Markenzeichen des impressionistischen Stils. Der Himmel, in sanften Blau- und Weißtönen gehalten, bildet einen Hintergrund für die Szene. Vögel im Flug verleihen der Komposition Bewegung und Leben. Der Vordergrund ist ein Feld aus trockenem Gras, gemalt in erdigen Tönen, die die Farben der Bäume ergänzen. Camille Pissarro (1830-1903) war ein dänisch-französischer impressionistischer und neoimpressionistischer Maler. Er ist bekannt für seine Darstellungen des ländlichen und städtischen Lebens in Frankreich. Pissarros Werk konzentrierte sich oft darauf, die alltäglichen Erfahrungen gewöhnlicher Menschen einzufangen, und er interessierte sich für die Auswirkungen von Licht und Atmosphäre auf das Erscheinungsbild der Welt um ihn herum. Er war ein Mentor für Künstler wie Paul Cézanne und Paul Gauguin, und sein Einfluss ist in deren Werk sichtbar.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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Herbstlandschaft - Camille Pissarro
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Camille Pissarro
Pissarro was the only Impressionist with a big police file. He was a lifelong anarchist, influenced by Kropotkin and Proudhon, and his conviction in the need for social revolution was not theoretical. He was also the only artist to show at all eight Paris Impressionist exhibitions, from 1874 to 1886. Nobody else managed that.
He was born in 1830 in Charlotte Amalie, St Thomas, in the Danish West Indies. His father was a Portuguese Sephardic Jew; his mother was from the Dominican Republic. He grew up playing with children of African descent on the island, which may have seeded his later egalitarianism. In 1849 he met the Danish painter Fritz Melbye on St Thomas, who convinced him to paint full-time. He left for Paris.
He became the group's mentor, the elder statesman who taught without condescension. Cezanne, Gauguin, and later Seurat and Signac all learned from him. He introduced Cezanne to plein air painting and persuaded him to lighten his palette. He championed Gauguin when others were sceptical. When Seurat and Signac developed Pointillism, Pissarro was the first established Impressionist to adopt the technique, displaying new pointillist work alongside theirs at the 1886 exhibition. He said it was the next phase in the logical march of Impressionism. He later abandoned it, calling the system too artificial.
From about his late forties, he suffered chronic dacryocystitis, an infection of the tear duct in his left eye. Dust and wind aggravated it badly. This forced him to paint indoors, behind closed windows, and directly changed his subject matter. The rural landscapes gave way to Parisian boulevards and crowds, viewed from hotel rooms above the street. The late paintings of Rouen, Paris, and Le Havre, with their elevated perspectives and atmospheric light, were partly a medical adaptation.
He died in 1903 in Paris, aged seventy-three.
He was born in 1830 in Charlotte Amalie, St Thomas, in the Danish West Indies. His father was a Portuguese Sephardic Jew; his mother was from the Dominican Republic. He grew up playing with children of African descent on the island, which may have seeded his later egalitarianism. In 1849 he met the Danish painter Fritz Melbye on St Thomas, who convinced him to paint full-time. He left for Paris.
He became the group's mentor, the elder statesman who taught without condescension. Cezanne, Gauguin, and later Seurat and Signac all learned from him. He introduced Cezanne to plein air painting and persuaded him to lighten his palette. He championed Gauguin when others were sceptical. When Seurat and Signac developed Pointillism, Pissarro was the first established Impressionist to adopt the technique, displaying new pointillist work alongside theirs at the 1886 exhibition. He said it was the next phase in the logical march of Impressionism. He later abandoned it, calling the system too artificial.
From about his late forties, he suffered chronic dacryocystitis, an infection of the tear duct in his left eye. Dust and wind aggravated it badly. This forced him to paint indoors, behind closed windows, and directly changed his subject matter. The rural landscapes gave way to Parisian boulevards and crowds, viewed from hotel rooms above the street. The late paintings of Rouen, Paris, and Le Havre, with their elevated perspectives and atmospheric light, were partly a medical adaptation.
He died in 1903 in Paris, aged seventy-three.
Unsere Funktionen
Entwickelt für nachhaltige Wirkung
Besondere Eigenschaften
Jedes Solis-Stück wird auf Bestellung mit archivtauglichen Materialien in Galeriequalität gefertigt, die für eine lange Lebensdauer ausgelegt sind.
- Giclée-Druck in Museumsqualität für satte, lichtbeständige Farben
- Mattes Fine-Art-Papier in Archivqualität, FSC-zertifiziert
- Mehrere Größen und Rahmenoptionen verfügbar
- Rahmen in Schwarz, Naturholz, dunklem Holz oder Weiß
- Gerahmte Drucke werden fertig zum Aufhängen geliefert
Pflege & Reinigung
Damit Ihr Kunstwerk optimal aussieht:
- Vorsichtig mit einem weichen, trockenen Tuch abstauben
- Längere direkte Sonneneinstrahlung vermeiden
- Niemals flüssige Reiniger auf Druck- oder Leinwandoberflächen verwenden
- An einem trockenen Ort bei Raumtemperatur aufbewahren
- Drucke mit sauberen, trockenen Händen anfassen
Material & Größe
Museums-Giclée-Druck auf FSC-zertifiziertem, archivbeständigem, mattem Papier, wahlweise mit Rahmen oder als Leinwand.
- Papierformate: A4, A3, A2, A1, A0 und B2 (50×70 cm)
- Leinwand: XS (20×30 cm) bis Large (60×90 cm)
- Rahmen: Schwarz, Naturholz, dunkles Holz oder Weiß
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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Museumsreife Materialien
Biografie des Künstlers
Camille Pissarro
Pissarro was the only Impressionist with a big police file. He was a lifelong anarchist, influenced by Kropotkin and Proudhon, and his conviction in the need for social revolution was not theoretical. He was also the only artist to show at all eight Paris Impressionist exhibitions, from 1874 to 1886. Nobody else managed that.
He was born in 1830 in Charlotte Amalie, St Thomas, in the Danish West Indies. His father was a Portuguese Sephardic Jew; his mother was from the Dominican Republic. He grew up playing with children of African descent on the island, which may have seeded his later egalitarianism. In 1849 he met the Danish painter Fritz Melbye on St Thomas, who convinced him to paint full-time. He left for Paris.
He became the group's mentor, the elder statesman who taught without condescension. Cezanne, Gauguin, and later Seurat and Signac all learned from him. He introduced Cezanne to plein air painting and persuaded him to lighten his palette. He championed Gauguin when others were sceptical. When Seurat and Signac developed Pointillism, Pissarro was the first established Impressionist to adopt the technique, displaying new pointillist work alongside theirs at the 1886 exhibition. He said it was the next phase in the logical march of Impressionism. He later abandoned it, calling the system too artificial.
From about his late forties, he suffered chronic dacryocystitis, an infection of the tear duct in his left eye. Dust and wind aggravated it badly. This forced him to paint indoors, behind closed windows, and directly changed his subject matter. The rural landscapes gave way to Parisian boulevards and crowds, viewed from hotel rooms above the street. The late paintings of Rouen, Paris, and Le Havre, with their elevated perspectives and atmospheric light, were partly a medical adaptation.
He died in 1903 in Paris, aged seventy-three.
He was born in 1830 in Charlotte Amalie, St Thomas, in the Danish West Indies. His father was a Portuguese Sephardic Jew; his mother was from the Dominican Republic. He grew up playing with children of African descent on the island, which may have seeded his later egalitarianism. In 1849 he met the Danish painter Fritz Melbye on St Thomas, who convinced him to paint full-time. He left for Paris.
He became the group's mentor, the elder statesman who taught without condescension. Cezanne, Gauguin, and later Seurat and Signac all learned from him. He introduced Cezanne to plein air painting and persuaded him to lighten his palette. He championed Gauguin when others were sceptical. When Seurat and Signac developed Pointillism, Pissarro was the first established Impressionist to adopt the technique, displaying new pointillist work alongside theirs at the 1886 exhibition. He said it was the next phase in the logical march of Impressionism. He later abandoned it, calling the system too artificial.
From about his late forties, he suffered chronic dacryocystitis, an infection of the tear duct in his left eye. Dust and wind aggravated it badly. This forced him to paint indoors, behind closed windows, and directly changed his subject matter. The rural landscapes gave way to Parisian boulevards and crowds, viewed from hotel rooms above the street. The late paintings of Rouen, Paris, and Le Havre, with their elevated perspectives and atmospheric light, were partly a medical adaptation.
He died in 1903 in Paris, aged seventy-three.
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