Fine Art Poster
Iconic artworks with vivid colors using giclée fine art 12-color printing technology. Unmatched quality and durability using 200gsm smooth matte paper. Unframed; delivered flat or rolled.





Painted in 1887, Émile Bernard's *Iron Bridges at Asnières* depicts a modern industrial scene on the Seine. The painting features simplified forms, muted colours, and visible brushwork, reflecting the artist's Post-Impressionist style.
Émile Bernard's 1887 painting, *Iron Bridges at Asnières*, captures a scene of industrial modernity on the outskirts of Paris. Bernard, a French Post-Impressionist painter, was associated with artists such as Paul Gauguin and Vincent van Gogh. This work reflects the influence of Cloisonnism, a style he helped develop, characterised by bold forms separated by dark outlines. The painting depicts the railway bridges spanning the Seine at Asnières-sur-Seine, a suburb northwest of Paris. The composition is divided into distinct zones, with the bridges and a passing train dominating the background. Two figures, rendered as dark silhouettes, stand on the riverbank in the middle ground, adding a human element to the industrial setting. In the foreground, a boat rests on the bank, its form simplified and abstracted. Bernard's use of colour is restrained, with muted tones of green, grey, and brown creating a somewhat melancholic atmosphere. The brushwork is visible, contributing to the painting's textured surface and sense of immediacy. The painting offers a glimpse into the changing urban environment of late 19th-century France, where industrial progress coexisted with traditional ways of life.

Solid wood frames, UV-protected acrylic glaze, and archival backing for lasting durability.
12-colour giclée printing on FSC-certified 200gsm fine art paper, with lifetime fade resistance.
Sustainably sourced materials, precision manufactured locally, reducing carbon footprint.
Each frame is sealed with rigid backing and fixings attached, no extra effort required.
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inventing cloisonnism at twenty, sharing it with Gauguin, watching Gauguin take the credit, and spending decades arguing about who invented Symbolism
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