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.
Bright Intervals - Edward Wadsworth
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
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Beschreibung
A 1928 maritime still life by Edward Wadsworth, featuring nautical objects rendered with precise, hard-edged clarity in tempera.
Bright Intervals, painted in 1928, captures the distinct aesthetic shift in Edward Wadsworth's career during the interwar period. Moving away from his earlier Vorticist abstractions, Wadsworth adopted a meticulous, tempera-based technique that favoured clarity and hard-edged forms. This work presents a maritime still life, arranged with a deliberate, almost clinical precision that characterises his mature style.
The composition features a collection of nautical objects, including fishing floats, a shell, a barometer, and a coil of rope, all bound by a striking red ribbon. These items sit upon a flat surface, set against a backdrop that opens to a view of a steamship and a distant sail. The lighting is sharp, casting long, defined shadows that emphasise the three-dimensional quality of the objects. The palette is controlled, relying on the contrast between the deep blues of the sea and the bright, saturated red of the ribbon and floats.
Wadsworth's interest in the sea and industrial machinery remains a constant theme. By isolating these objects from their functional context, he invites the viewer to observe their formal properties, such as texture, shape, and volume. The painting reflects the artist's fascination with the intersection of natural forms and man-made tools. The smooth application of tempera allows for a high degree of finish, removing visible brushwork and contributing to the overall sense of stillness and order. This piece is a representative example of British maritime modernism, demonstrating a rigorous approach to composition and a disciplined use of colour.
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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.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Look vervollständigen
Bright Intervals - Edward Wadsworth
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Edward Wadsworth
Edward Wadsworth's most consequential act as an artist may have been bureaucratic rather than painterly. In 1917, as a lieutenant in the Royal Naval Volunteer Reserve, he oversaw the transfer of dazzle camouflage designs to hundreds of Allied ships, an industrial-scale deployment of abstract pattern intended to confuse submarine commanders about a vessel's speed and heading. The project placed his Vorticist training directly in service of the war effort, and the paintings he made from it, including Dazzle-ships in Drydock at Liverpool (1919), stand among the most striking documents of that strange overlap between modernism and military necessity.
Born in Cleckheaton, Yorkshire, in 1889, Wadsworth studied engineering before switching to art, spending time in Munich and then winning a scholarship to the Slade School of Fine Art in London. By 1914 he was a signatory of the Vorticist Manifesto and a contributor to BLAST, the movement's combative journal. His pre-war work shared Vorticism's love of hard angles and mechanical force, applied to the industrial landscapes of the Black Country where he grew up.
After the war he moved away from abstraction, adopting tempera as his primary medium and concentrating on coastal still lifes: rope, anchors, shells, and nautical equipment arranged against flat backgrounds or grey sea horizons. The shift aligned him with a broader European return to representational order, and these later compositions earned him election as an Associate of the Royal Academy in 1943. He died in Bayswater in June 1949, having moved through nearly every major mode of British modernism without fully belonging to any of them.
Born in Cleckheaton, Yorkshire, in 1889, Wadsworth studied engineering before switching to art, spending time in Munich and then winning a scholarship to the Slade School of Fine Art in London. By 1914 he was a signatory of the Vorticist Manifesto and a contributor to BLAST, the movement's combative journal. His pre-war work shared Vorticism's love of hard angles and mechanical force, applied to the industrial landscapes of the Black Country where he grew up.
After the war he moved away from abstraction, adopting tempera as his primary medium and concentrating on coastal still lifes: rope, anchors, shells, and nautical equipment arranged against flat backgrounds or grey sea horizons. The shift aligned him with a broader European return to representational order, and these later compositions earned him election as an Associate of the Royal Academy in 1943. He died in Bayswater in June 1949, having moved through nearly every major mode of British modernism without fully belonging to any of them.
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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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