Aboard a Yacht - Berthe Morisot
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
Säker utcheckning
Tillverkad på beställning
Beskrivning
A delicate watercolour by Berthe Morisot, capturing the light and atmosphere of a harbour scene with fluid, gestural brushwork.
Berthe Morisot, a central figure in the Impressionist circle, produced this watercolour during the mid-1870s. The work captures a maritime scene with the characteristic spontaneity and lightness of touch that defined her approach to the medium. Morisot often utilised watercolour to explore the effects of light on water and the ephemeral nature of leisure activities, a common subject for the Impressionists.
The composition focuses on the skeletal structure of a yacht, with the mast and rigging creating a series of intersecting lines that divide the frame. Below, the hulls of boats rest upon the water, rendered with fluid, translucent washes of colour. Morisot leaves significant portions of the paper surface exposed, allowing the white ground to represent the brightness of the sky and the reflective quality of the sea. The figures on deck are suggested through minimal, gestural marks, maintaining the focus on the atmosphere rather than precise detail.
Unlike the more structured marine paintings of her contemporaries, this piece prioritises the immediacy of the artist's observation. The palette is restrained, relying on soft greens, ochres, and deep tones for the boat hulls to provide contrast against the pale, airy background. This work demonstrates Morisot's ability to balance technical control with a sense of freedom, capturing the quiet movement of vessels in a harbour. It remains a clear example of her preference for domestic and recreational subjects, rendered with a sensitivity to the changing conditions of light and air.
Returpolicy
Eftersom varje tryck görs på beställning erbjuder vi inte returer, återbetalningar eller byten på grund av ändrade åsikter. Om din beställning kommer fram felaktig, skadad eller fel, ersätter vi den kostnadsfritt – kontakta oss bara inom 48 timmar efter leverans. Se vår återbetalningssida för fullständig information.
Frakt
Vi skickar till hela världen och trycker vid den produktionsanläggning som är närmast din leveransadress. Leveranstider och kostnader varierar beroende på destination – du ser tillgängliga alternativ i kassan.
Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
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
Aboard a Yacht - Berthe Morisot
Artist Biography
Berthe Morisot
She was born in Bourges in 1841. Her parents built a studio in the family garden for Berthe and her sister Edma, who was equally talented. Edma abandoned painting when she married a naval officer in 1869. Berthe, having lost her collaborator, held on harder. She exhibited ten works at the first Impressionist exhibition in 1874, the only woman showing. She participated in every Impressionist show except 1879, the year her daughter Julie was born.
Edouard Manet painted her portrait repeatedly before she married his brother Eugene in 1874. She had sworn to stay single. Eugene gave up his own painting ambitions so she could pursue hers. Whatever the nature of her relationship with Edouard, it produced some of his finest portraits and left a subject that art historians have been circling for over a century.
She painted the domestic world of women with a directness that the male Impressionists could not access: mothers and daughters, women at their toilette, the garden, the drawing room. The brushwork is rapid and unfinished-looking, more so than Monet's. She died of pneumonia in 1895, aged fifty-four, caught while nursing her daughter through the same illness. She wrote to sixteen-year-old Julie the day before.
Varför välja oss?
Leveransgaranti utan skador
Snabb leverans
Material av museikvalitet
Du kanske också gillar