In the Shade - Henri-Edmond Cross
Archival giclée
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Description
Henri-Edmond Cross's 'In the Shade' (1892) is a Pointillist painting depicting nude figures resting under a tree, rendered in small dots of colour to create a shimmering effect and capture a sense of warmth and tranquility.
Henri-Edmond Cross, a French painter born in 1856, is known for his contributions to the Neo-Impressionist movement. He, along with Georges Seurat and Paul Signac, developed Pointillism, a technique using small, distinct dots of colour applied in patterns to form an image. Cross's work often depicts idyllic scenes, emphasising light and colour to evoke mood and atmosphere. 'In the Shade', painted in 1892, exemplifies Cross's Pointillist style. The painting presents a group of nude figures resting beneath a tree near a body of water. The scene is rendered with countless tiny dots of colour, creating a shimmering effect. The figures are bathed in dappled light, with the colours ranging from blues and greens in the foliage to oranges and pinks in the figures' skin. The composition is carefully constructed, balancing the figures with the natural elements to create a harmonious and serene image. Cross's use of colour and light captures a sense of warmth and tranquility, inviting the viewer into this peaceful scene.
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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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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.
In the Shade - Henri-Edmond Cross
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
- Choose poster, framed print, canvas or framed canvas
- 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
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Artist Biography
Henri-Edmond Cross
He trained conventionally, painting in the dark realist manner of Bastien-Lepage and Manet. The conversion to Neo-Impressionism came slowly: he did not adopt the pointillist technique until 1891, years after Seurat and Signac had established the method. Once he committed, he moved south. Diagnosed with rheumatism, he left Paris and settled in Saint-Clair on the Mediterranean coast, where the climate was gentler and the light was entirely different.
The move changed his painting. Working alongside Signac, who had also moved south, Cross developed a second phase of Neo-Impressionism: broader, looser brushstrokes than the granular dots of Parisian pointillism, in colours heated by Mediterranean light. The palette shifted from grey and blue to orange, violet and turquoise. The brushstrokes grew from points to mosaic-like blocks of colour.
The late paintings influenced Matisse directly. When Matisse visited Saint-Tropez in 1904, he saw Cross's work and recognised something he could use: the liberation of colour from description. Fauvism, which Matisse would lead the following year, grew partly from what Cross and Signac were doing on the Mediterranean coast.
Cross died in 1910, aged fifty-three. He spent the last nineteen years of his life painting the same coastline in colours that got more intense with each passing year.
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