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.
Black Forest House near Happach - Hans Thoma
Regular price
£28.00 GBP
Sale price
£28.00 GBP
Regular price
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A detailed lithograph by Hans Thoma depicting a traditional farmhouse in the Black Forest, capturing the quiet atmosphere of the German countryside.
Hans Thoma, a painter and printmaker born in the Black Forest region of Germany, maintained a lifelong connection to the topography and rural traditions of his home. This lithograph depicts a traditional farmhouse situated near Happach, capturing the quietude of the mountainous terrain. Thoma often returned to these motifs, finding a sense of stability in the vernacular architecture and the daily rhythms of the local population. The composition is structured around the heavy, sloping roof of the farmhouse, which dominates the mid-ground. A lone figure carrying a pack walks along the dirt path, providing a sense of scale and human presence within the expansive environment. The surrounding hills are rendered with careful attention to the undulating contours of the land, while the sky is filled with voluminous, soft clouds. Thoma employs a restrained palette, relying on tonal variations to define the depth of the scene rather than bold colour. The stone wall in the foreground and the scattered boulders add texture to the composition, grounding the house within its physical environment. Thoma was associated with the Symbolist movement, yet his work frequently retains a grounded, observational quality. His prints often reflect a nostalgic view of German folk life, stripped of industrial artifice. By focusing on the specificities of the Black Forest, he created images that feel both personal and representative of a broader regional identity. This print demonstrates his technical proficiency in lithography, using fine lines and cross-hatching to create shadow and form. The work remains a clear example of his ability to elevate a simple rural subject into a composed, atmospheric image that invites quiet contemplation of the natural world.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Complete The Look
Black Forest House near Happach - Hans Thoma
Regular price
From £28.00 GBP
Sale price
From £28.00 GBP
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Hans Thoma
Thoma learned to paint from a clock-face maker. He was born in Bernau, in the Black Forest, in 1839; his father was a woodworker, his mother came from a family of artisans. He started as a lithographer's apprentice in Basel, then as a clock-face painter in Furtwangen, completing neither apprenticeship before entering the Karlsruhe Academy in 1859.
A trip to Paris in 1868 with his friend Otto Scholderer exposed him to Courbet and the Barbizon painters, whose realism influenced his landscape style. He moved to Munich and spent six years there, then to Frankfurt, where he lived from 1876 to 1899. He also spent extended periods in Italy, becoming one of the "German Romans", artists who found in Renaissance observation a means of contemporary expression that fed into European Symbolism.
His landscapes of the Black Forest, with their deep greens, rounded hills and pastoral stillness, made him the best-known painter of that region. He also painted mythological and Symbolist subjects, self-portraits with allegorical figures, and genre scenes of German rural life. He married his student Cella Berteneder, who became known as a painter of flowers and still lifes.
In 1899 he was appointed director of the Kunsthalle Karlsruhe, a position he held until 1919. After his death in 1924, his work was appropriated by nationalist and Nazi ideology, and several paintings were looted from Jewish collectors during the Third Reich. The association has complicated his posthumous reputation. He remains little known outside Germany, a painter whose Black Forest landscapes speak to regional identity with an honesty that the political appropriation could not quite destroy.
A trip to Paris in 1868 with his friend Otto Scholderer exposed him to Courbet and the Barbizon painters, whose realism influenced his landscape style. He moved to Munich and spent six years there, then to Frankfurt, where he lived from 1876 to 1899. He also spent extended periods in Italy, becoming one of the "German Romans", artists who found in Renaissance observation a means of contemporary expression that fed into European Symbolism.
His landscapes of the Black Forest, with their deep greens, rounded hills and pastoral stillness, made him the best-known painter of that region. He also painted mythological and Symbolist subjects, self-portraits with allegorical figures, and genre scenes of German rural life. He married his student Cella Berteneder, who became known as a painter of flowers and still lifes.
In 1899 he was appointed director of the Kunsthalle Karlsruhe, a position he held until 1919. After his death in 1924, his work was appropriated by nationalist and Nazi ideology, and several paintings were looted from Jewish collectors during the Third Reich. The association has complicated his posthumous reputation. He remains little known outside Germany, a painter whose Black Forest landscapes speak to regional identity with an honesty that the political appropriation could not quite destroy.
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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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Artist Biography
Hans Thoma
Thoma learned to paint from a clock-face maker. He was born in Bernau, in the Black Forest, in 1839; his father was a woodworker, his mother came from a family of artisans. He started as a lithographer's apprentice in Basel, then as a clock-face painter in Furtwangen, completing neither apprenticeship before entering the Karlsruhe Academy in 1859.
A trip to Paris in 1868 with his friend Otto Scholderer exposed him to Courbet and the Barbizon painters, whose realism influenced his landscape style. He moved to Munich and spent six years there, then to Frankfurt, where he lived from 1876 to 1899. He also spent extended periods in Italy, becoming one of the "German Romans", artists who found in Renaissance observation a means of contemporary expression that fed into European Symbolism.
His landscapes of the Black Forest, with their deep greens, rounded hills and pastoral stillness, made him the best-known painter of that region. He also painted mythological and Symbolist subjects, self-portraits with allegorical figures, and genre scenes of German rural life. He married his student Cella Berteneder, who became known as a painter of flowers and still lifes.
In 1899 he was appointed director of the Kunsthalle Karlsruhe, a position he held until 1919. After his death in 1924, his work was appropriated by nationalist and Nazi ideology, and several paintings were looted from Jewish collectors during the Third Reich. The association has complicated his posthumous reputation. He remains little known outside Germany, a painter whose Black Forest landscapes speak to regional identity with an honesty that the political appropriation could not quite destroy.
A trip to Paris in 1868 with his friend Otto Scholderer exposed him to Courbet and the Barbizon painters, whose realism influenced his landscape style. He moved to Munich and spent six years there, then to Frankfurt, where he lived from 1876 to 1899. He also spent extended periods in Italy, becoming one of the "German Romans", artists who found in Renaissance observation a means of contemporary expression that fed into European Symbolism.
His landscapes of the Black Forest, with their deep greens, rounded hills and pastoral stillness, made him the best-known painter of that region. He also painted mythological and Symbolist subjects, self-portraits with allegorical figures, and genre scenes of German rural life. He married his student Cella Berteneder, who became known as a painter of flowers and still lifes.
In 1899 he was appointed director of the Kunsthalle Karlsruhe, a position he held until 1919. After his death in 1924, his work was appropriated by nationalist and Nazi ideology, and several paintings were looted from Jewish collectors during the Third Reich. The association has complicated his posthumous reputation. He remains little known outside Germany, a painter whose Black Forest landscapes speak to regional identity with an honesty that the political appropriation could not quite destroy.
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