Fine Art Poster
From £37
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.
Blå natt - Edward Hopper
Ordinarie pris
£37.00 GBP
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£37.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
Edward Hoppers *Blue Night*, målad 1914, presenterar en nattlig scen med figurer i en cafémiljö, återgiven i svala blåa och vita toner, som framkallar en känsla av avskildhet och anonymitet typisk för hans tidiga stil.
Målningen *Blue Night* från 1914 av Edward Hopper visar en grupp figurer sittandes vid bord utomhus, möjligen på en restaurang eller ett café. Scenen badar i ett svalt, nattligt ljus, vilket skapar en något avskild och drömlik atmosfär. Kompositionen är uppdelad i distinkta sektioner, med figurerna arrangerade på ett något osammanhängande sätt. Färgpaletten domineras av blått och vitt, med inslag av rött och gult i lyktorna som hänger ovanför. Figurerna själva är återgivna med en viss anonymitet, deras ansikten ofta skymda eller vända bort från betraktaren. Detta bidrar till känslan av alienation och isolering som är ett återkommande tema i Hoppers verk. Hoppers tidiga stil visar influenser från europeiska konstströmningar, särskilt impressionismen och postimpressionismen, men han utvecklade en distinkt amerikansk inställning till realism. *Blue Night* är ett tidigt exempel på Hoppers utforskning av stadsliv och mänskliga villkor, teman som skulle definiera hans senare, mer erkända verk. Målningens något teatraliska kvalitet, med sin scenliknande miljö och kostymerade figurer, antyder en berättelse som lämnas öppen för tolkning.
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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.
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Blå natt - Edward Hopper
Ordinarie pris
Från £37.00 GBP
Reapris
Från £37.00 GBP
Ordinarie pris
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Edward Hopper
Hopper liked walking around New York at night, looking into lit windows. Room in New York, one of his best paintings, came from doing exactly that: glimpsing a couple in an apartment, not speaking to each other, the woman touching a piano key with one finger. He painted what he saw from the outside.
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
Våra funktioner
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Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
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 £59
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.
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Material av museikvalitet
Artistbiografi
Edward Hopper
Hopper liked walking around New York at night, looking into lit windows. Room in New York, one of his best paintings, came from doing exactly that: glimpsing a couple in an apartment, not speaking to each other, the woman touching a piano key with one finger. He painted what he saw from the outside.
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
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