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.
Haselmäuse - Archibald Thorburn
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
Ein Aquarellgemälde von Archibald Thorburn, das zwei Haselmäuse in ihrer natürlichen Umgebung zeigt. Das Können des Künstlers zeigt sich in der Darstellung des Fells der Haselmäuse und des weichen, natürlichen Hintergrunds.
Archibald Thorburn (1860-1935) war ein schottischer Künstler, berühmt für seine Darstellungen der britischen Tierwelt. Seine akribische Detailgenauigkeit und wissenschaftliche Präzision machten ihn bei Ornithologen und Jägern gleichermaßen beliebt. Thorburns Werk trug dazu bei, die Wertschätzung für die natürliche Welt zu popularisieren, zu einer Zeit, als Naturschutzbemühungen an Fahrt gewannen. Er illustrierte zahlreiche Bücher, darunter Lord Lilfords *Birds of the British Islands* und sein eigenes *British Birds*. Seine Gemälde werden für ihren Realismus und ihre Fähigkeit, den Charakter jedes Tieres einzufangen, geschätzt. *Haselmäuse* zeigt zwei Haselmäuse, die auf Ästen sitzen, umgeben von Blättern. Die Haselmaus auf der linken Seite sitzt aufmerksam da, ihr Blick ist auf den Betrachter gerichtet. Die Haselmaus auf der rechten Seite nagt an einer grünen Nuss. Thorburns Können zeigt sich in der Darstellung des Fells der Haselmäuse, wobei jedes Haar scheinbar einzeln zu erkennen ist. Der Hintergrund ist ein weicher Farbverlauf aus Grün- und Blautönen, der eine natürliche Umgebung für die Tiere schafft. Die Komposition ist einfach, aber effektiv und lenkt den Blick des Betrachters auf die charmanten Motive.
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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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Haselmäuse - Archibald Thorburn
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Archibald Thorburn
Thorburn's father was Robert Thorburn, Queen Victoria's favourite miniature painter. The elder Thorburn was exacting: he tore up his son's weaker sketches. Archibald learned early that accuracy was not optional.
He began as a sportsman, attending shooting parties at Sandringham and sketching the birds he helped kill. Sometime before the turn of the century he wounded a hare and heard it scream. He hung up his gun permanently and spent the rest of his career painting the wildlife he had previously hunted. The shift from sportsman to conservationist is the central event of his life, though he rarely discussed it publicly.
He worked almost exclusively in watercolour, deeming oils too heavy and lifeless for the task of rendering a bird in its habitat. He enhanced his watercolours with tempera and Chinese white, achieving a luminosity that made the feathers glow. Each painting is a field study: the bird is anatomically correct, the vegetation is botanically identifiable, and the light belongs to a specific time of day in a specific season. His favourite haunt was the Forest of Gaick near Kingussie in the Scottish Highlands, where he first saw ptarmigan in 1883.
In his last years he refused electric lighting in his studio, preferring natural light and candles. He illustrated several editions of Swaysland's Familiar Wild Birds, produced Christmas cards that sold in enormous quantities, and became the most commercially successful wildlife painter in British history.
He taught Otto Murray Dixon and Philip Rickman, and when the young Donald Watson visited him in Dumfries and Galloway, Thorburn encouraged him to continue. The tradition of British bird painting runs through his studio.
He began as a sportsman, attending shooting parties at Sandringham and sketching the birds he helped kill. Sometime before the turn of the century he wounded a hare and heard it scream. He hung up his gun permanently and spent the rest of his career painting the wildlife he had previously hunted. The shift from sportsman to conservationist is the central event of his life, though he rarely discussed it publicly.
He worked almost exclusively in watercolour, deeming oils too heavy and lifeless for the task of rendering a bird in its habitat. He enhanced his watercolours with tempera and Chinese white, achieving a luminosity that made the feathers glow. Each painting is a field study: the bird is anatomically correct, the vegetation is botanically identifiable, and the light belongs to a specific time of day in a specific season. His favourite haunt was the Forest of Gaick near Kingussie in the Scottish Highlands, where he first saw ptarmigan in 1883.
In his last years he refused electric lighting in his studio, preferring natural light and candles. He illustrated several editions of Swaysland's Familiar Wild Birds, produced Christmas cards that sold in enormous quantities, and became the most commercially successful wildlife painter in British history.
He taught Otto Murray Dixon and Philip Rickman, and when the young Donald Watson visited him in Dumfries and Galloway, Thorburn encouraged him to continue. The tradition of British bird painting runs through his studio.
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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Schneller Versand
Museumsreife Materialien
Biografie des Künstlers
Archibald Thorburn
Thorburn's father was Robert Thorburn, Queen Victoria's favourite miniature painter. The elder Thorburn was exacting: he tore up his son's weaker sketches. Archibald learned early that accuracy was not optional.
He began as a sportsman, attending shooting parties at Sandringham and sketching the birds he helped kill. Sometime before the turn of the century he wounded a hare and heard it scream. He hung up his gun permanently and spent the rest of his career painting the wildlife he had previously hunted. The shift from sportsman to conservationist is the central event of his life, though he rarely discussed it publicly.
He worked almost exclusively in watercolour, deeming oils too heavy and lifeless for the task of rendering a bird in its habitat. He enhanced his watercolours with tempera and Chinese white, achieving a luminosity that made the feathers glow. Each painting is a field study: the bird is anatomically correct, the vegetation is botanically identifiable, and the light belongs to a specific time of day in a specific season. His favourite haunt was the Forest of Gaick near Kingussie in the Scottish Highlands, where he first saw ptarmigan in 1883.
In his last years he refused electric lighting in his studio, preferring natural light and candles. He illustrated several editions of Swaysland's Familiar Wild Birds, produced Christmas cards that sold in enormous quantities, and became the most commercially successful wildlife painter in British history.
He taught Otto Murray Dixon and Philip Rickman, and when the young Donald Watson visited him in Dumfries and Galloway, Thorburn encouraged him to continue. The tradition of British bird painting runs through his studio.
He began as a sportsman, attending shooting parties at Sandringham and sketching the birds he helped kill. Sometime before the turn of the century he wounded a hare and heard it scream. He hung up his gun permanently and spent the rest of his career painting the wildlife he had previously hunted. The shift from sportsman to conservationist is the central event of his life, though he rarely discussed it publicly.
He worked almost exclusively in watercolour, deeming oils too heavy and lifeless for the task of rendering a bird in its habitat. He enhanced his watercolours with tempera and Chinese white, achieving a luminosity that made the feathers glow. Each painting is a field study: the bird is anatomically correct, the vegetation is botanically identifiable, and the light belongs to a specific time of day in a specific season. His favourite haunt was the Forest of Gaick near Kingussie in the Scottish Highlands, where he first saw ptarmigan in 1883.
In his last years he refused electric lighting in his studio, preferring natural light and candles. He illustrated several editions of Swaysland's Familiar Wild Birds, produced Christmas cards that sold in enormous quantities, and became the most commercially successful wildlife painter in British history.
He taught Otto Murray Dixon and Philip Rickman, and when the young Donald Watson visited him in Dumfries and Galloway, Thorburn encouraged him to continue. The tradition of British bird painting runs through his studio.
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