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.
Intercambio de ropa, n.º 1 - James McNeill Whistler
Precio habitual
£28.00 GBP
Precio de oferta
£28.00 GBP
Precio habitual
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
Un aguafuerte atmosférico de James McNeill Whistler, que captura la cualidad tranquila y brumosa de una escena callejera londinense a través de líneas delicadas y contraste tonal.
Clothes Exchange, No. 1 es un aguafuerte de James McNeill Whistler, producido durante su estancia en Londres. La obra captura una atmósfera urbana específica, centrándose en el juego de luces y sombras dentro de un entorno de calle estrecha. Whistler emplea una línea delicada y económica para definir la arquitectura, dejando grandes áreas de la superficie del papel en blanco para sugerir la cualidad brumosa y húmeda del aire de la ciudad. La composición dirige la mirada hacia una abertura oscura y retranqueada en el centro, que contrasta con el tratamiento más ligero y abocetado de los edificios circundantes. Las figuras se sugieren mediante marcas mínimas, apareciendo como presencias fugaces dentro del espacio. Este enfoque refleja el interés del artista por capturar el estado de ánimo de un lugar más que por documentar detalles arquitectónicos precisos. El aguafuerte demuestra su dominio del medio, donde el uso selectivo de la tinta y la presión aplicada a la plancha crean diversos grados de profundidad y tono. Whistler revisitaba a menudo temas de la vida urbana, encontrando belleza en los aspectos mundanos de la ciudad. En esta estampa, el foco permanece en la interacción entre las estructuras sólidas de los edificios y la naturaleza efímera de la luz. La obra evita el desorden innecesario, permitiendo al espectador conectar con la cualidad tranquila y observacional de la escena. Es un ejemplo característico de su obra gráfica posterior, donde se alejó del denso detalle de sus primeros aguafuertes hacia un estilo más sugerente y atmosférico. La estampa ofrece un vistazo al proceso del artista, mostrando cómo utilizaba la aguja de grabado para registrar sus impresiones inmediatas del entorno.
Política de devoluciones
Debido a que cada impresión se realiza bajo pedido, no ofrecemos devoluciones, reembolsos ni cambios por cambio de opinión. Si su pedido llega defectuoso, dañado o incorrecto, lo reemplazaremos sin cargo alguno; solo contáctenos dentro de las 48 horas posteriores a la entrega. Consulte nuestra página de reembolsos para obtener todos los detalles.
Envío
Realizamos envíos a todo el mundo, imprimiendo en el centro de producción más cercano a su dirección de entrega. Los plazos y costes de envío varían según el destino; verá las opciones disponibles para usted al finalizar la compra.
Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Completa el look
Intercambio de ropa, n.º 1 - James McNeill Whistler
Precio habitual
Desde £28.00 GBP
Precio de oferta
Desde £28.00 GBP
Precio habitual
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
James Mcneill Whistler
Whistler was expelled from West Point for failing his chemistry exam. Asked to discuss silicon, he opened by calling it a gas. He later said: had silicon been a gas, I would have been a major general. He had accumulated demerits for keeping his hair longer than allowed and talking back to instructors. He appealed the expulsion all the way to the superintendent, Robert E. Lee. Lee declined.
He was born in 1834 in Lowell, Massachusetts. His father, a civil engineer, took the family to St Petersburg to advise on the railroad to Moscow. The young Whistler took drawing classes at the Imperial Academy of Sciences. After the West Point disaster, he briefly worked for the US Coast and Geodetic Survey, learning the etching techniques he would use for the rest of his career, then left for Paris. He never lived in America again.
The painting everyone knows as Whistler's Mother is actually called Arrangement in Grey and Black No. 1. He named his works with musical terms (Nocturnes, Arrangements, Harmonies, Symphonies) to insist that painting was about tonal composition, not subject matter. The painting of his mother was about grey and black. That it also depicted his mother was, in principle, secondary.
In 1877, John Ruskin reviewed his Nocturne in Black and Gold: The Falling Rocket and wrote that he never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. Whistler sued for libel. The case was heard over two days in November 1878. He won, and was awarded damages of one farthing, the least valuable coin in the realm. The legal costs bankrupted him.
He signed his work with a butterfly. It started as a monogram inspired by the potter's marks on Chinese ceramics he collected, gradually evolving into an abstract butterfly shape. Around 1880, he added a stinger to it, representing both the delicate and the combative sides of his personality. The Peacock Room, his masterpiece of decorative art, extended his obsession with total harmony from a single painting to an entire architectural space.
He was born in 1834 in Lowell, Massachusetts. His father, a civil engineer, took the family to St Petersburg to advise on the railroad to Moscow. The young Whistler took drawing classes at the Imperial Academy of Sciences. After the West Point disaster, he briefly worked for the US Coast and Geodetic Survey, learning the etching techniques he would use for the rest of his career, then left for Paris. He never lived in America again.
The painting everyone knows as Whistler's Mother is actually called Arrangement in Grey and Black No. 1. He named his works with musical terms (Nocturnes, Arrangements, Harmonies, Symphonies) to insist that painting was about tonal composition, not subject matter. The painting of his mother was about grey and black. That it also depicted his mother was, in principle, secondary.
In 1877, John Ruskin reviewed his Nocturne in Black and Gold: The Falling Rocket and wrote that he never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. Whistler sued for libel. The case was heard over two days in November 1878. He won, and was awarded damages of one farthing, the least valuable coin in the realm. The legal costs bankrupted him.
He signed his work with a butterfly. It started as a monogram inspired by the potter's marks on Chinese ceramics he collected, gradually evolving into an abstract butterfly shape. Around 1880, he added a stinger to it, representing both the delicate and the combative sides of his personality. The Peacock Room, his masterpiece of decorative art, extended his obsession with total harmony from a single painting to an entire architectural space.
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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