Fine Art Poster
From £37
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.
Pferde in Paris - Christopher Wood
Regulärer Preis
£37.00 GBP
Angebotspreis
£37.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
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Beschreibung
Eine Stadtansicht von Christopher Wood, "Pferde in Paris" fängt eine Pariser Szene mit vereinfachten Formen und einer gedämpften Farbpalette ein. Das Gemälde spiegelt Woods unverwechselbaren Stil wider, der Elemente des Post-Impressionismus mit einer naiven Sensibilität verbindet.
Christopher Wood, ein 1901 geborener britischer Künstler, schuf Werke, die oft seine Reisen und persönlichen Erfahrungen widerspiegelten. Sein Stil, obwohl er sich entwickelte, enthielt häufig Elemente des Post-Impressionismus und eine gewisse Naivität, die seinen Gemälden einen unverwechselbaren Charme verleiht. Woods Leben wurde 1930 tragisch kurz geschnitten, aber sein künstlerisches Schaffen bleibt ein interessanter Punkt im Kontext der britischen Kunst des frühen 20. Jahrhunderts. "Pferde in Paris" zeigt eine Szene des Pariser Lebens, dargestellt mit einem vereinfachten, fast kindlichen Ansatz. Die Gebäude sind mit breiten Pinselstrichen und minimalen Details dargestellt, was ein Gefühl von Volumen ohne präzise architektonische Genauigkeit erzeugt. Reiter und Fußgänger bevölkern den Vordergrund und verleihen der Komposition ein Gefühl von Maßstab und Aktivität. Die Farbpalette ist zurückhaltend, dominiert von gedämpften Braun-, Weiß- und Grautönen, mit gelegentlichen roten Akzenten. Der Gesamteffekt ist eine zurückhaltende Eleganz, die die Atmosphäre von Paris auf eine Weise einfängt, die sowohl intim als auch leicht distanziert ist.
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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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Pferde in Paris - Christopher Wood
Regulärer Preis
Ab £37.00 GBP
Angebotspreis
Ab £37.00 GBP
Regulärer Preis
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Christopher Wood
Christopher Wood died at 29, throwing himself in front of a train at Salisbury station on 21 August 1930. The tragedy cut short one of the most distinctive careers in British modernism: a painter who had charmed Picasso and Diaghilev in Paris, spent summers chasing paintable light along the Breton coast, and co-discovered the self-taught mariner Alfred Wallis in a St Ives backstreet.
Born in Knowsley, Liverpool in 1901, Wood abandoned medicine to study at the Académie Julian in Paris from 1921. The social world he entered was remarkable: he moved through Cocteau's circle and was taken up by Diaghilev's Ballets Russes, even designing sets for a production that was never staged. By the mid-1920s he had joined both the London Group and the Seven and Five Society, painting alongside Ben and Winifred Nicholson.
His breakthrough came partly through patronage. Lucy Wertheim began buying his work after his 1929 solo exhibition at Tooth's Gallery on Bond Street and was planning his first major retrospective for October 1930 when he died. His final summers in Brittany produced some of his finest paintings: harbour scenes and chapels rendered with a directness that owed something to Wallis, something to Post-Impressionism, and a great deal to his own particular handling of colour.
Wood never lived to see how thoroughly his reputation would hold. Posthumous exhibitions followed in 1931 and 1932, and works appeared in the 1938 Venice Biennale. His gravestone at Salisbury was carved by Eric Gill. Today his Breton coastal scenes command six-figure sums at auction, reflecting the sustained appeal of that short, fractured career.
Born in Knowsley, Liverpool in 1901, Wood abandoned medicine to study at the Académie Julian in Paris from 1921. The social world he entered was remarkable: he moved through Cocteau's circle and was taken up by Diaghilev's Ballets Russes, even designing sets for a production that was never staged. By the mid-1920s he had joined both the London Group and the Seven and Five Society, painting alongside Ben and Winifred Nicholson.
His breakthrough came partly through patronage. Lucy Wertheim began buying his work after his 1929 solo exhibition at Tooth's Gallery on Bond Street and was planning his first major retrospective for October 1930 when he died. His final summers in Brittany produced some of his finest paintings: harbour scenes and chapels rendered with a directness that owed something to Wallis, something to Post-Impressionism, and a great deal to his own particular handling of colour.
Wood never lived to see how thoroughly his reputation would hold. Posthumous exhibitions followed in 1931 and 1932, and works appeared in the 1938 Venice Biennale. His gravestone at Salisbury was carved by Eric Gill. Today his Breton coastal scenes command six-figure sums at auction, reflecting the sustained appeal of that short, fractured career.
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- Rahmen in Schwarz, Naturholz, dunklem Holz oder Weiß
- Gerahmte Drucke werden fertig zum Aufhängen geliefert
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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
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Fine Art Framed
From £59
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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Biografie des Künstlers
Christopher Wood
Christopher Wood died at 29, throwing himself in front of a train at Salisbury station on 21 August 1930. The tragedy cut short one of the most distinctive careers in British modernism: a painter who had charmed Picasso and Diaghilev in Paris, spent summers chasing paintable light along the Breton coast, and co-discovered the self-taught mariner Alfred Wallis in a St Ives backstreet.
Born in Knowsley, Liverpool in 1901, Wood abandoned medicine to study at the Académie Julian in Paris from 1921. The social world he entered was remarkable: he moved through Cocteau's circle and was taken up by Diaghilev's Ballets Russes, even designing sets for a production that was never staged. By the mid-1920s he had joined both the London Group and the Seven and Five Society, painting alongside Ben and Winifred Nicholson.
His breakthrough came partly through patronage. Lucy Wertheim began buying his work after his 1929 solo exhibition at Tooth's Gallery on Bond Street and was planning his first major retrospective for October 1930 when he died. His final summers in Brittany produced some of his finest paintings: harbour scenes and chapels rendered with a directness that owed something to Wallis, something to Post-Impressionism, and a great deal to his own particular handling of colour.
Wood never lived to see how thoroughly his reputation would hold. Posthumous exhibitions followed in 1931 and 1932, and works appeared in the 1938 Venice Biennale. His gravestone at Salisbury was carved by Eric Gill. Today his Breton coastal scenes command six-figure sums at auction, reflecting the sustained appeal of that short, fractured career.
Born in Knowsley, Liverpool in 1901, Wood abandoned medicine to study at the Académie Julian in Paris from 1921. The social world he entered was remarkable: he moved through Cocteau's circle and was taken up by Diaghilev's Ballets Russes, even designing sets for a production that was never staged. By the mid-1920s he had joined both the London Group and the Seven and Five Society, painting alongside Ben and Winifred Nicholson.
His breakthrough came partly through patronage. Lucy Wertheim began buying his work after his 1929 solo exhibition at Tooth's Gallery on Bond Street and was planning his first major retrospective for October 1930 when he died. His final summers in Brittany produced some of his finest paintings: harbour scenes and chapels rendered with a directness that owed something to Wallis, something to Post-Impressionism, and a great deal to his own particular handling of colour.
Wood never lived to see how thoroughly his reputation would hold. Posthumous exhibitions followed in 1931 and 1932, and works appeared in the 1938 Venice Biennale. His gravestone at Salisbury was carved by Eric Gill. Today his Breton coastal scenes command six-figure sums at auction, reflecting the sustained appeal of that short, fractured career.
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