Slowly Toward The North - Yves Tanguy
Archival giclée
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Description
Yves Tanguy's 1944 painting, Slowly Toward The North, showcases the artist's mature Surrealist style with dreamlike, abstract compositions and biomorphic forms in an ambiguous space.
Yves Tanguy's 1944 painting, Slowly Toward The North, exemplifies the artist's mature Surrealist style. Born in Paris, Tanguy was a self-taught artist who became a prominent figure in the Surrealist movement. His works often feature dreamlike, abstract compositions with biomorphic forms and ambiguous spaces. He developed a unique visual language that explored the subconscious and challenged conventional representation. Tanguy's paintings evoke a sense of mystery and introspection, inviting viewers to interpret the symbolic meanings within his enigmatic landscapes. In Slowly Toward The North, the composition presents a desolate, otherworldly scene. The horizon line is barely visible, creating a sense of infinite space. Strange, geometric and organic forms populate the foreground, casting shadows on the flat plane. The colour palette is dominated by cool blues and greys, with occasional touches of orange and green, contributing to the painting's eerie and unsettling atmosphere. The precise rendering of the forms contrasts with the ambiguity of their arrangement, creating a tension between the real and the unreal.
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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.
Slowly Toward The North - Yves Tanguy
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Specific Features
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- Dust gently with a soft, dry cloth
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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
Yves Tanguy
He was born in Paris in 1900. He briefly joined the merchant navy in 1918 before being drafted into the army, where he met the poet Jacques Prevert, who later introduced him to Andre Breton's Surrealist circle. He joined the Surrealists in 1925 and had his first solo show just two years later, having taught himself everything.
His paintings consistently depict flat, featureless landscapes resembling sea floors or alien terrain, populated by biomorphic forms that look like melted rocks or bones. He never explained them. The palette is muted, the horizons infinite, the atmosphere airless. The same vocabulary of forms appears across decades of work with only gradual variation.
He married the American Surrealist painter Kay Sage in Reno, Nevada, in 1940. They settled in Woodbury, Connecticut, converting an old farmhouse into a studio. He died there in 1955, aged fifty-five.
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