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.
Churchyard - James McNeill Whistler
Prix régulier
£28.00 GBP
Prix de vente
£28.00 GBP
Prix régulier
Giclée d'art
Les cadres sont livrés prêts à suspendre
Paiement sécurisé
Fabriqué sur commande
Description
A delicate lithograph by James McNeill Whistler, capturing an urban scene with light, suggestive lines and a focus on atmospheric tone.
This lithograph by James McNeill Whistler captures a quiet, urban scene with the economy of line characteristic of his later graphic work. Whistler, who spent much of his career in London and Paris, often turned his attention to the modest architecture of the city. In this composition, he focuses on the facade of a building adjacent to a churchyard, using light, suggestive marks to define the structure rather than rigid outlines.
The work demonstrates Whistler's interest in the atmospheric quality of light and shadow. He employs a delicate touch, allowing the texture of the paper to remain visible, which provides a sense of airiness to the scene. The figures and architectural details are rendered with minimal pressure, creating a sense of fleeting observation. The presence of gravestones in the foreground provides a grounding element, contrasting with the verticality of the building and the chimney stacks above.
Whistler was a proponent of the idea that art should be concerned with the arrangement of tone and colour, rather than the literal depiction of a subject. In this print, the focus remains on the balance between the dark accents of the windows and the open, unworked areas of the paper. His signature butterfly monogram is visible in the lower right, a mark he adopted to identify his work during this period. This piece offers a glimpse into the artist's ability to find aesthetic value in the mundane corners of city life, prioritising mood and suggestion over descriptive detail. It is a fine example of his mastery of the lithographic medium, where he exploited the soft, crayon-like qualities of the stone to achieve a painterly effect.
Politique de retour
Comme chaque impression est réalisée à la commande, nous n'acceptons ni les retours, ni les remboursements, ni les échanges pour cause de changement d'avis. Si votre commande arrive défectueuse, endommagée ou non conforme, nous la remplacerons gratuitement — contactez-nous simplement dans les 48 heures suivant la livraison. Consultez notre page de remboursement pour plus de détails.
Expédition
Nous livrons dans le monde entier, en imprimant depuis le centre de production le plus proche de votre adresse de livraison. Les délais et les frais de livraison varient selon la destination ; vous verrez les options qui s'offrent à vous lors du paiement.
Fabrication
Chaque impression est réalisée à la commande par impression giclée 12 couleurs sur papier d'archivage certifié FSC. Conçue en Grande-Bretagne et imprimée dans votre centre de production le plus proche afin de réduire le gaspillage et d'accélérer la livraison.
Entretien et matériaux
Caractéristiques spécifiques
Chaque pièce Solis est fabriquée sur commande avec des matériaux de qualité galerie, conçus pour durer, destinés à la conservation.
- Impression giclée de qualité musée pour des couleurs riches et résistantes à la décoloration
- Papier beaux-arts mat d'archivage, certifié FSC
- Plusieurs tailles et options d'encadrement disponibles
- Cadres en noir, bois naturel, bois foncé ou blanc
- Les impressions encadrées sont livrées prêtes à accrocher
Entretien et nettoyage
Pour conserver votre œuvre en parfait état :
- Époussetez délicatement avec un chiffon doux et sec
- Évitez l'exposition directe et prolongée au soleil
- N'utilisez jamais de nettoyants liquides sur la surface de l'impression ou de la toile
- Conservez dans un endroit sec à température ambiante
- Manipulez les impressions avec des mains propres et sèches
Matériaux et dimensions
Impression giclée de qualité musée sur papier mat d'archivage certifié FSC, avec options d'encadrement et sur toile.
- Formats de papier : A4, A3, A2, A1, A0 et B2 (50×70 cm)
- Toile : du XS (20×30 cm) au Grand (60×90 cm)
- Cadres : noir, bois naturel, bois foncé ou blanc
Complétez le look
Churchyard - James McNeill Whistler
Prix régulier
À partir de £28.00 GBP
Prix de vente
À partir de £28.00 GBP
Prix régulier
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.
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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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