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.
Still Life with Hyacinths and Carpet - August Macke
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 bold 1910 still life by August Macke, featuring a vibrant patterned carpet, a bowl of fruit, and a potted hyacinth.
August Macke painted this still life in 1910, a period when his work began to reflect the influence of French Fauvism and the colour theories of Henri Matisse. The composition features a white ceramic jug, a bowl of fruit, and a potted hyacinth arranged upon a patterned textile. Macke uses a bold, non-naturalistic colour palette, where the yellow background creates a flat, decorative space that pushes the objects to the front of the picture plane.
The carpet itself is a primary element of the design. Its geometric motifs and saturated red, blue, and yellow tones provide a complex visual base for the simpler forms of the fruit and the jug. Macke avoids traditional shading, opting instead for clear, distinct areas of colour that define the volume of the objects. The hyacinth, rendered in a deep purple, provides a vertical counterpoint to the rounded shapes of the oranges and lemons in the central bowl.
This work demonstrates Macke's interest in the decorative potential of painting. By flattening the perspective, he draws attention to the surface of the canvas and the interaction between the various patterns and hues. The brushwork remains visible, contributing to the overall sense of immediacy. This piece is representative of the early twentieth-century German Expressionist movement, specifically the circle associated with Der Blaue Reiter, where artists sought to move away from objective representation in favour of subjective colour expression. The arrangement of everyday objects becomes a vehicle for exploring the relationship between light, form, and decorative design, rather than a mere documentation of a domestic 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. 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.
Care and materials
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
Complete The Look
Still Life with Hyacinths and Carpet - August Macke
Regular price
From £28.00 GBP
Sale price
From £28.00 GBP
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
August Macke
Macke was twenty-seven when he was killed on the Western Front in September 1914. He had been painting seriously for about six years. In April of that same year he had been in Tunisia with Paul Klee and Louis Moilliet, making watercolours in the souks of Tunis and Kairouan. The gap between the two events, four months, is one of the starkest in modern art.
He grew up in a family of building contractors in Meschede, Westphalia, with no artistic connections. He visited Paris multiple times and absorbed Impressionism, Fauvism and Cubism in rapid succession, but his paintings look like none of those movements. What he took from France was colour: warm, saturated, joyful. His street scenes, market squares and park promenades glow with a light that belongs to someone who finds the world beautiful and wants to record it before it changes.
He met Franz Marc in 1910, and through Marc became involved with Der Blaue Reiter. His temperament was the opposite of Kandinsky's theoretical intensity. Macke painted intuitively, quickly, and with an optimism that made him the most approachable of the German Expressionists.
The Tunisian watercolours are his finest work: small, luminous, almost abstract in their reduction of architecture and figures to planes of colour. Klee wrote afterward that colour had taken possession of him. The same could be said of Macke, who had been working toward that moment for years.
He was drafted immediately when war broke out. His wife Elisabeth received notification of his death six weeks later. Marc, his closest friend, was killed at Verdun in 1916.
He grew up in a family of building contractors in Meschede, Westphalia, with no artistic connections. He visited Paris multiple times and absorbed Impressionism, Fauvism and Cubism in rapid succession, but his paintings look like none of those movements. What he took from France was colour: warm, saturated, joyful. His street scenes, market squares and park promenades glow with a light that belongs to someone who finds the world beautiful and wants to record it before it changes.
He met Franz Marc in 1910, and through Marc became involved with Der Blaue Reiter. His temperament was the opposite of Kandinsky's theoretical intensity. Macke painted intuitively, quickly, and with an optimism that made him the most approachable of the German Expressionists.
The Tunisian watercolours are his finest work: small, luminous, almost abstract in their reduction of architecture and figures to planes of colour. Klee wrote afterward that colour had taken possession of him. The same could be said of Macke, who had been working toward that moment for years.
He was drafted immediately when war broke out. His wife Elisabeth received notification of his death six weeks later. Marc, his closest friend, was killed at Verdun in 1916.
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.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like