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.
Interieur - Alexandre Benois
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
Eine Studie eines Interieurs von Alexandre Benois, das einen markanten Kontrast zwischen einem tiefblauen Vordergrund und einem warmen, ockerfarbenen Essbereich zeigt.
Alexandre Benois, eine zentrale Figur der Bewegung Mir Iskusstwa (Welt der Kunst), besaß die ausgeprägte Fähigkeit, die Atmosphäre häuslicher Räume einzufangen. Dieses Werk zeigt eine Reihe miteinander verbundener Räume, die mit einem Fokus auf das Zusammenspiel von Farbe und Licht dargestellt sind. Der Vordergrund wird von einer kräftigen, satten blauen Wand dominiert, die einen starken Kontrast zu dem wärmeren, ockerfarbenen Raum bildet, der durch den zentralen Torbogen sichtbar ist. Benois verwendet eine Technik, die architektonische Struktur mit den weichen, texturalen Qualitäten von Aquarell und Gouache ausbalanciert. Die Komposition lädt den Betrachter ein, durch die Schwelle zu blicken, wodurch ein Gefühl der Tiefe entsteht, das den Blick auf den Essbereich im Hintergrund lenkt. Die Wände sind mit zahlreichen gerahmten Bildern geschmückt, ein häufiges Merkmal in den Häusern der russischen Intelligenz während dieser Zeit. Die Möbel, einschließlich der Stühle und des Tisches im Vordergrund, sind mit präzisen, zarten Linien dargestellt, die ihre Form definieren, ohne die Szene zu überladen. Eine kleine grüne Figur sitzt auf dem Tisch und verleiht der ansonsten geordneten Anordnung des Raumes einen Hauch von Verspieltheit. Benois interessierte sich zutiefst für die Geschichte der Kunst und Architektur, und dieses Interesse zeigt sich in seiner sorgfältigen Beobachtung des Interieurs. Er vermeidet übermäßige Details und bevorzugt es, den Charakter des Raumes durch Licht und Schatten anzudeuten. Der Kontrast zwischen dem kühlen Blau des Vordergrunds und dem warmen Gelb des inneren Raumes erzeugt einen visuellen Rhythmus, der den Betrachter durch die häusliche Umgebung führt. Dieses Werk fängt einen ruhigen, privaten Moment ein, der die ästhetischen Empfindungen des russischen Künstlerkreises des frühen 20. Jahrhunderts widerspiegelt. Es ist eine Studie von Raum, Farbe und den persönlichen Objekten, die ein Zuhause definieren.
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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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Interieur - Alexandre Benois
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Alexandre Benois
Few critics left as permanent a mark on the art of their era as Alexandre Benois, yet his deepest passion was France in the age of Louis XIV. His Versailles series of 1905-06, painted in gouache and watercolour during extended residencies near Paris, captured the melancholy grandeur of abandoned royal gardens with a precision entirely his own.
Born in 1870 in St Petersburg into a family of architects and artists, Benois was largely self-taught after a brief, dissatisfying spell as an unregistered student at the Academy of Arts. He studied law at university and educated himself through trips to Italy, Spain, and France. By the 1890s he was Russia's pre-eminent art critic, and in 1898 he co-founded the journal Mir iskusstva (World of Art) with Sergei Diaghilev, backed by Princess Tenisheva and the industrialist Savva Mamontov. The journal opposed the didactic social realism of the Peredvizhniki and insisted that Russian art engage seriously with European modernism.
As a painter, Benois worked primarily in watercolour and gouache until 1905. His Russian history series of 1907-10, commissioned by publisher Iosif Knoebel, depicted Petrine and Catherinian court life with careful archival precision; his three editions of illustrations for Pushkin's Bronze Horseman (1903, 1905, 1916-22) remain defining images of the poem. Theatre absorbed him most fully. He wrote the libretto for Stravinsky's Petrouchka (1911), designed the first Ballets Russes Paris season, and headed the Moscow Arts Theatre's art production section from 1913 to 1915.
From 1918 to 1926 he directed the Picture Gallery at the Hermitage, a formidable institutional role through years of revolutionary upheaval. He left Russia permanently in 1926, settling in Paris the following year, and spent his final decades producing more than sixty theatre and opera productions across La Scala, the Paris Opéra, and major houses in London and New York. He died in Paris in February 1960.
Born in 1870 in St Petersburg into a family of architects and artists, Benois was largely self-taught after a brief, dissatisfying spell as an unregistered student at the Academy of Arts. He studied law at university and educated himself through trips to Italy, Spain, and France. By the 1890s he was Russia's pre-eminent art critic, and in 1898 he co-founded the journal Mir iskusstva (World of Art) with Sergei Diaghilev, backed by Princess Tenisheva and the industrialist Savva Mamontov. The journal opposed the didactic social realism of the Peredvizhniki and insisted that Russian art engage seriously with European modernism.
As a painter, Benois worked primarily in watercolour and gouache until 1905. His Russian history series of 1907-10, commissioned by publisher Iosif Knoebel, depicted Petrine and Catherinian court life with careful archival precision; his three editions of illustrations for Pushkin's Bronze Horseman (1903, 1905, 1916-22) remain defining images of the poem. Theatre absorbed him most fully. He wrote the libretto for Stravinsky's Petrouchka (1911), designed the first Ballets Russes Paris season, and headed the Moscow Arts Theatre's art production section from 1913 to 1915.
From 1918 to 1926 he directed the Picture Gallery at the Hermitage, a formidable institutional role through years of revolutionary upheaval. He left Russia permanently in 1926, settling in Paris the following year, and spent his final decades producing more than sixty theatre and opera productions across La Scala, the Paris Opéra, and major houses in London and New York. He died in Paris in February 1960.
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.
Premium Box Frame
From £85
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From £30
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From £135
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
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Biografie des Künstlers
Alexandre Benois
Few critics left as permanent a mark on the art of their era as Alexandre Benois, yet his deepest passion was France in the age of Louis XIV. His Versailles series of 1905-06, painted in gouache and watercolour during extended residencies near Paris, captured the melancholy grandeur of abandoned royal gardens with a precision entirely his own.
Born in 1870 in St Petersburg into a family of architects and artists, Benois was largely self-taught after a brief, dissatisfying spell as an unregistered student at the Academy of Arts. He studied law at university and educated himself through trips to Italy, Spain, and France. By the 1890s he was Russia's pre-eminent art critic, and in 1898 he co-founded the journal Mir iskusstva (World of Art) with Sergei Diaghilev, backed by Princess Tenisheva and the industrialist Savva Mamontov. The journal opposed the didactic social realism of the Peredvizhniki and insisted that Russian art engage seriously with European modernism.
As a painter, Benois worked primarily in watercolour and gouache until 1905. His Russian history series of 1907-10, commissioned by publisher Iosif Knoebel, depicted Petrine and Catherinian court life with careful archival precision; his three editions of illustrations for Pushkin's Bronze Horseman (1903, 1905, 1916-22) remain defining images of the poem. Theatre absorbed him most fully. He wrote the libretto for Stravinsky's Petrouchka (1911), designed the first Ballets Russes Paris season, and headed the Moscow Arts Theatre's art production section from 1913 to 1915.
From 1918 to 1926 he directed the Picture Gallery at the Hermitage, a formidable institutional role through years of revolutionary upheaval. He left Russia permanently in 1926, settling in Paris the following year, and spent his final decades producing more than sixty theatre and opera productions across La Scala, the Paris Opéra, and major houses in London and New York. He died in Paris in February 1960.
Born in 1870 in St Petersburg into a family of architects and artists, Benois was largely self-taught after a brief, dissatisfying spell as an unregistered student at the Academy of Arts. He studied law at university and educated himself through trips to Italy, Spain, and France. By the 1890s he was Russia's pre-eminent art critic, and in 1898 he co-founded the journal Mir iskusstva (World of Art) with Sergei Diaghilev, backed by Princess Tenisheva and the industrialist Savva Mamontov. The journal opposed the didactic social realism of the Peredvizhniki and insisted that Russian art engage seriously with European modernism.
As a painter, Benois worked primarily in watercolour and gouache until 1905. His Russian history series of 1907-10, commissioned by publisher Iosif Knoebel, depicted Petrine and Catherinian court life with careful archival precision; his three editions of illustrations for Pushkin's Bronze Horseman (1903, 1905, 1916-22) remain defining images of the poem. Theatre absorbed him most fully. He wrote the libretto for Stravinsky's Petrouchka (1911), designed the first Ballets Russes Paris season, and headed the Moscow Arts Theatre's art production section from 1913 to 1915.
From 1918 to 1926 he directed the Picture Gallery at the Hermitage, a formidable institutional role through years of revolutionary upheaval. He left Russia permanently in 1926, settling in Paris the following year, and spent his final decades producing more than sixty theatre and opera productions across La Scala, the Paris Opéra, and major houses in London and New York. He died in Paris in February 1960.
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