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.
November - Carl Larsson
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
Ein zartes Aquarell von Carl Larsson aus dem Jahr 1887, das einen alten Mann zeigt, der an einem grauen Novembertag durch einen ruhigen, frostbedeckten Garten geht.
Carl Larsson, ein schwedischer Maler, bekannt für seine Darstellungen des häuslichen Lebens, schuf dieses Aquarell im Jahr 1887. Das Werk fängt eine ruhige, winterliche Szene in einem ländlichen Garten ein. Ein älterer Mann, in einem schweren blauen Mantel gekleidet und sich auf einen Gehstock stützend, geht einen Pfad entlang. Die Atmosphäre wird durch das blasse, diffuse Licht bestimmt, das typisch für einen späten Herbsttag in Nordeuropa ist. Im Hintergrund sind die einfachen, giebelständigen Silhouetten von Bauernhäusern zu sehen, die in sanften, gedämpften Tönen in den Nebel übergehen.
Larsson verwendet eine zarte Technik, indem er dünne Aquarelllasuren nutzt, um die Texturen der frostbedeckten Vegetation und der abgenutzten Kleidung der Figur aufzubauen. Die Komposition ist ausgewogen, wobei der Mann rechts positioniert ist und ein Gefühl für die Proportionen im ruhigen Garten vermittelt. Im Vordergrund befindet sich eine Ansammlung spät blühender Blumen, deren gedämpfte Farben einen subtilen Kontrast zur gräulich-braunen Erde und dem blassen Himmel bilden. Dieses Werk spiegelt die Fähigkeit des Künstlers wider, die alltäglichen Details des Lebens mit Präzision und Empathie zu beobachten. Im Gegensatz zu seinen späteren, stärker stilisierten Werken, die mit der Arts-and-Crafts-Bewegung in Verbindung gebracht werden, behält dieses Aquarell eine naturalistische Qualität und konzentriert sich auf das Zusammenspiel zwischen der menschlichen Figur und der saisonalen Umgebung. Das Werk ist in der unteren rechten Ecke signiert und datiert, was seinen Ursprung in einer Zeit bestätigt, in der Larsson seine Meisterschaft im Aquarellmedium verfeinerte. Es bleibt ein repräsentatives Beispiel für seine Fähigkeit, die spezifische Stimmung eines schwedischen Herbstes einzufangen, wo der Übergang zum Winter in der Stille der Luft und dem schwindenden Licht spürbar wird.
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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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November - Carl Larsson
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Carl Larsson
Larsson's father told him he cursed the day he was born. The family lived in extreme poverty in Gamla Stan, the old town of Stockholm. His father was a casual labourer who drank. The boy was admitted to the Royal Swedish Academy of Arts at thirteen, on the recommendation of a teacher who saw something in him that the household did not.
He struggled for years, working as an illustrator and retoucher of photographs while trying to establish himself as a painter. In 1882, at an artists' colony in Grez-sur-Loing outside Paris, he met the artist Karin Bergoo. They married, and everything changed. The watercolours he began painting in Grez were lighter, more fluid and more personal than anything he had produced before.
In 1888 Karin's father gave them a small house called Lilla Hyttnas in Sundborn, a village in Dalarna. The house became their joint project: Carl painted it, Karin designed the interiors, the furniture, the textiles, the colour schemes. The result was one of the most influential domestic interiors in Scandinavian design, a prototype for what would eventually become Swedish modernism. He painted the house and the family inside it (they had eight children) in watercolours that were published as a book, Ett Hem (A Home), in 1899. It sold across Europe.
The paintings of Sundborn are warm, bright and apparently effortless, which made people assume his life was too. It was not. He suffered depression in his later years and had a stroke in 1919. His most ambitious painting, Midvinterblot, a monumental canvas of a Viking midwinter sacrifice, was rejected by the National Museum. He admitted in his memoirs that the pictures of his family and home had become the most lasting part of his work. He was right.
He struggled for years, working as an illustrator and retoucher of photographs while trying to establish himself as a painter. In 1882, at an artists' colony in Grez-sur-Loing outside Paris, he met the artist Karin Bergoo. They married, and everything changed. The watercolours he began painting in Grez were lighter, more fluid and more personal than anything he had produced before.
In 1888 Karin's father gave them a small house called Lilla Hyttnas in Sundborn, a village in Dalarna. The house became their joint project: Carl painted it, Karin designed the interiors, the furniture, the textiles, the colour schemes. The result was one of the most influential domestic interiors in Scandinavian design, a prototype for what would eventually become Swedish modernism. He painted the house and the family inside it (they had eight children) in watercolours that were published as a book, Ett Hem (A Home), in 1899. It sold across Europe.
The paintings of Sundborn are warm, bright and apparently effortless, which made people assume his life was too. It was not. He suffered depression in his later years and had a stroke in 1919. His most ambitious painting, Midvinterblot, a monumental canvas of a Viking midwinter sacrifice, was rejected by the National Museum. He admitted in his memoirs that the pictures of his family and home had become the most lasting part of his work. He was right.
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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Schneller Versand
Museumsreife Materialien
Biografie des Künstlers
Carl Larsson
Larsson's father told him he cursed the day he was born. The family lived in extreme poverty in Gamla Stan, the old town of Stockholm. His father was a casual labourer who drank. The boy was admitted to the Royal Swedish Academy of Arts at thirteen, on the recommendation of a teacher who saw something in him that the household did not.
He struggled for years, working as an illustrator and retoucher of photographs while trying to establish himself as a painter. In 1882, at an artists' colony in Grez-sur-Loing outside Paris, he met the artist Karin Bergoo. They married, and everything changed. The watercolours he began painting in Grez were lighter, more fluid and more personal than anything he had produced before.
In 1888 Karin's father gave them a small house called Lilla Hyttnas in Sundborn, a village in Dalarna. The house became their joint project: Carl painted it, Karin designed the interiors, the furniture, the textiles, the colour schemes. The result was one of the most influential domestic interiors in Scandinavian design, a prototype for what would eventually become Swedish modernism. He painted the house and the family inside it (they had eight children) in watercolours that were published as a book, Ett Hem (A Home), in 1899. It sold across Europe.
The paintings of Sundborn are warm, bright and apparently effortless, which made people assume his life was too. It was not. He suffered depression in his later years and had a stroke in 1919. His most ambitious painting, Midvinterblot, a monumental canvas of a Viking midwinter sacrifice, was rejected by the National Museum. He admitted in his memoirs that the pictures of his family and home had become the most lasting part of his work. He was right.
He struggled for years, working as an illustrator and retoucher of photographs while trying to establish himself as a painter. In 1882, at an artists' colony in Grez-sur-Loing outside Paris, he met the artist Karin Bergoo. They married, and everything changed. The watercolours he began painting in Grez were lighter, more fluid and more personal than anything he had produced before.
In 1888 Karin's father gave them a small house called Lilla Hyttnas in Sundborn, a village in Dalarna. The house became their joint project: Carl painted it, Karin designed the interiors, the furniture, the textiles, the colour schemes. The result was one of the most influential domestic interiors in Scandinavian design, a prototype for what would eventually become Swedish modernism. He painted the house and the family inside it (they had eight children) in watercolours that were published as a book, Ett Hem (A Home), in 1899. It sold across Europe.
The paintings of Sundborn are warm, bright and apparently effortless, which made people assume his life was too. It was not. He suffered depression in his later years and had a stroke in 1919. His most ambitious painting, Midvinterblot, a monumental canvas of a Viking midwinter sacrifice, was rejected by the National Museum. He admitted in his memoirs that the pictures of his family and home had become the most lasting part of his work. He was right.
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