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.
In the Subway - George Bellows
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
A poignant lithograph by George Bellows capturing an intimate moment between a couple during a subway commute in early 20th-century New York.
George Bellows, a prominent member of the Ashcan School, focused his artistic attention on the raw, unvarnished realities of early twentieth-century New York City. In this lithograph, titled In the Subway, he captures a quiet, intimate moment amidst the industrial bustle of the underground transit system. The composition centres on a couple seated side by side, their hands clasped in a gesture of shared comfort. Bellows employs a masterful use of charcoal-like textures and varying degrees of shadow to define the figures against the dimly lit carriage interior.
The man, wearing a hat that casts a shadow over his features, leans slightly toward the woman, who looks forward with a soft, composed expression. Bellows avoids idealising his subjects, choosing instead to present them with a sense of authentic humanity. The background is suggested through loose, gestural marks, allowing the viewer to focus on the psychological connection between the two individuals. The print demonstrates the artist's technical proficiency with the lithographic stone, where he balances deep, velvety blacks with lighter, atmospheric greys to create depth and volume.
This work reflects the broader interest of the Ashcan School in documenting the daily lives of ordinary urban dwellers. By choosing the subway as his setting, Bellows highlights the anonymity and proximity inherent in modern city life. The collaboration with master printer Bolton Brown is evident in the quality of the ink application, which preserves the spontaneity of Bellows's original drawing. This piece offers a glimpse into the social fabric of the era, capturing a fleeting instance of human connection within the mechanical environment of the transit network.
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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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In the Subway - George Bellows
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
George Bellows
Bellows was six foot two and good enough at baseball to attract interest from the Cincinnati Reds. He chose painting instead, moved to New York in 1904, and studied under Robert Henri at the New York School of Art. Henri taught that art should engage with the messy reality of American life, not retreat into academic prettiness. Bellows took the instruction further than anyone in the group.
He painted boxing matches at Tom Sharkey's saloon, an illegal club near the Brooklyn waterfront where bare-knuckle fights happened in a back room. Stag at Sharkey's, painted in 1909 when he was twenty-six, shows two fighters locked together under electric light, the crowd surging at the edges of the canvas. The paint is applied with a violence that matches the subject.
He was the youngest artist associated with the Ashcan School and the boldest. While other members painted park benches and tenement laundry lines, Bellows painted excavation sites, shipyards, snow-covered lots, and river swimmers. The compositions are physically large, thickly painted, and arranged with an energy that makes the viewer feel as though the scene is still happening.
He worked as a newspaper sports illustrator to pay the bills, and the events he covered became paintings. In 1923 he was at the Polo Grounds on assignment for the New York Evening Journal when Luis Firpo knocked Jack Dempsey out of the ring and nearly into his lap. The painting he made of the moment reversed the punch to a left hook because the composition worked better that way. Accuracy was less important than impact.
He died of a ruptured appendix in 1925, at forty-two.
He painted boxing matches at Tom Sharkey's saloon, an illegal club near the Brooklyn waterfront where bare-knuckle fights happened in a back room. Stag at Sharkey's, painted in 1909 when he was twenty-six, shows two fighters locked together under electric light, the crowd surging at the edges of the canvas. The paint is applied with a violence that matches the subject.
He was the youngest artist associated with the Ashcan School and the boldest. While other members painted park benches and tenement laundry lines, Bellows painted excavation sites, shipyards, snow-covered lots, and river swimmers. The compositions are physically large, thickly painted, and arranged with an energy that makes the viewer feel as though the scene is still happening.
He worked as a newspaper sports illustrator to pay the bills, and the events he covered became paintings. In 1923 he was at the Polo Grounds on assignment for the New York Evening Journal when Luis Firpo knocked Jack Dempsey out of the ring and nearly into his lap. The painting he made of the moment reversed the punch to a left hook because the composition worked better that way. Accuracy was less important than impact.
He died of a ruptured appendix in 1925, at forty-two.
Våra funktioner
Utformad för varaktig inverkan
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 £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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Material av museikvalitet
Artistbiografi
George Bellows
Bellows was six foot two and good enough at baseball to attract interest from the Cincinnati Reds. He chose painting instead, moved to New York in 1904, and studied under Robert Henri at the New York School of Art. Henri taught that art should engage with the messy reality of American life, not retreat into academic prettiness. Bellows took the instruction further than anyone in the group.
He painted boxing matches at Tom Sharkey's saloon, an illegal club near the Brooklyn waterfront where bare-knuckle fights happened in a back room. Stag at Sharkey's, painted in 1909 when he was twenty-six, shows two fighters locked together under electric light, the crowd surging at the edges of the canvas. The paint is applied with a violence that matches the subject.
He was the youngest artist associated with the Ashcan School and the boldest. While other members painted park benches and tenement laundry lines, Bellows painted excavation sites, shipyards, snow-covered lots, and river swimmers. The compositions are physically large, thickly painted, and arranged with an energy that makes the viewer feel as though the scene is still happening.
He worked as a newspaper sports illustrator to pay the bills, and the events he covered became paintings. In 1923 he was at the Polo Grounds on assignment for the New York Evening Journal when Luis Firpo knocked Jack Dempsey out of the ring and nearly into his lap. The painting he made of the moment reversed the punch to a left hook because the composition worked better that way. Accuracy was less important than impact.
He died of a ruptured appendix in 1925, at forty-two.
He painted boxing matches at Tom Sharkey's saloon, an illegal club near the Brooklyn waterfront where bare-knuckle fights happened in a back room. Stag at Sharkey's, painted in 1909 when he was twenty-six, shows two fighters locked together under electric light, the crowd surging at the edges of the canvas. The paint is applied with a violence that matches the subject.
He was the youngest artist associated with the Ashcan School and the boldest. While other members painted park benches and tenement laundry lines, Bellows painted excavation sites, shipyards, snow-covered lots, and river swimmers. The compositions are physically large, thickly painted, and arranged with an energy that makes the viewer feel as though the scene is still happening.
He worked as a newspaper sports illustrator to pay the bills, and the events he covered became paintings. In 1923 he was at the Polo Grounds on assignment for the New York Evening Journal when Luis Firpo knocked Jack Dempsey out of the ring and nearly into his lap. The painting he made of the moment reversed the punch to a left hook because the composition worked better that way. Accuracy was less important than impact.
He died of a ruptured appendix in 1925, at forty-two.
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