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.
Greyhound Catching a Young Wild Boar - Frans Snyders
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
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Beskrivning
A dynamic study of a hunting scene by Flemish Baroque master Frans Snyders, rendered in pen and brown ink with wash.
This drawing by Frans Snyders captures a chaotic hunting scene, a subject for which the Flemish master was widely recognised during the seventeenth century. Snyders specialised in depictions of animals, often collaborating with Peter Paul Rubens to provide the wildlife elements in larger compositions. This work demonstrates his ability to convey movement and tension through fluid ink lines and subtle washes.
The composition is organised around the central confrontation between a wild boar and a pack of hounds. Snyders uses the ink wash to create depth, separating the foreground figures from the suggested foliage in the background. The greyhound on the right is depicted in a dynamic, vertical pose, contrasting with the fallen dogs on the left and the defensive stance of the boar. The artist employs a calligraphic line quality to define the musculature of the animals and the texture of their fur, showing his keen observation of animal anatomy.
Snyders often produced such studies as preparatory works for larger oil paintings. The brown ink and wash technique provides a monochromatic study of light and shadow, allowing the viewer to focus on the interaction between the predators and their prey. The scene avoids static poses, instead opting for a sense of immediate action. The artist's signature is visible in the lower right corner, confirming his authorship of this energetic study. This print offers a clear view of the draftsmanship that defined the Flemish Baroque approach to animal subjects, prioritising physical vigour and anatomical accuracy over idealised forms.
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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.
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
Komplettera looken
Greyhound Catching a Young Wild Boar - Frans Snyders
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Frans Snyders
Snyders's father ran a wine tavern in Antwerp that was allegedly once frequented by the painter Frans Floris, who is said to have squandered his fortune there. Whether the story is true or not, the son grew up around artists and became one of the first European painters to specialise entirely in animals.
He was born in Antwerp in 1579 and studied under Pieter Brueghel the Younger, though his painting style owed more to Brueghel's brother Jan ("Velvet Brueghel"), whose talent for rendering textures left a permanent mark. He may also have trained under Hendrik van Balen, who later taught Anthony van Dyck. A trip to Italy in 1608 to 1609 took him to Rome and Milan, where Cardinal Federico Borromeo became his patron.
Back in Antwerp, Snyders began collaborating with Peter Paul Rubens, a partnership that lasted from the 1610s until Rubens's death in 1640. Their brushwork was so close that contemporaries struggled to distinguish their contributions in shared canvases. Snyders painted roughly sixty hunting scenes and animal pieces after Rubens's designs, and added animal and still-life passages to Rubens's figure compositions. After Rubens died, Snyders served as one of the appraisers of his estate.
In 1611 he married Margaretha de Vos, sister of the painters Cornelis and Paul de Vos. He became dean of the Guild of Saint Luke in 1628 and bought a house on the fashionable Keizerstraat. His market scenes, hunt paintings and kitchen still lifes were compositions of Baroque excess: heaped game, overflowing fruit, dogs lunging at boar and deer. He died childless in 1657, at seventy-seven, leaving his fortune to his sister, a beguine.
He was born in Antwerp in 1579 and studied under Pieter Brueghel the Younger, though his painting style owed more to Brueghel's brother Jan ("Velvet Brueghel"), whose talent for rendering textures left a permanent mark. He may also have trained under Hendrik van Balen, who later taught Anthony van Dyck. A trip to Italy in 1608 to 1609 took him to Rome and Milan, where Cardinal Federico Borromeo became his patron.
Back in Antwerp, Snyders began collaborating with Peter Paul Rubens, a partnership that lasted from the 1610s until Rubens's death in 1640. Their brushwork was so close that contemporaries struggled to distinguish their contributions in shared canvases. Snyders painted roughly sixty hunting scenes and animal pieces after Rubens's designs, and added animal and still-life passages to Rubens's figure compositions. After Rubens died, Snyders served as one of the appraisers of his estate.
In 1611 he married Margaretha de Vos, sister of the painters Cornelis and Paul de Vos. He became dean of the Guild of Saint Luke in 1628 and bought a house on the fashionable Keizerstraat. His market scenes, hunt paintings and kitchen still lifes were compositions of Baroque excess: heaped game, overflowing fruit, dogs lunging at boar and deer. He died childless in 1657, at seventy-seven, leaving his fortune to his sister, a beguine.
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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.
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