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.
Interiör - Édouard Vuillard
Ordinarie pris
£37.00 GBP
Reapris
£37.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
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Beskrivning
Denna interiörscen av Édouard Vuillard fångar ett stillsamt ögonblick i ett mönstrat hem, och visar konstnärens postimpressionistiska stil samt hans intresse för dekorativa ytor och intima miljöer.
Édouard Vuillard, en nyckelperson inom den postimpressionistiska rörelsen, är känd för sina intima interiörscener som fångar de stillsamma ögonblicken i vardagslivet. Hans verk uppvisar ofta ett plattat perspektiv och en dekorativ användning av mönster, påverkat av Nabis-gruppen som han tillhörde. Vuillards målningar kännetecknas av dämpade färgpaletter och en känsla av slutet rum, vilket skapar en känsla av värme och intimitet. Denna målning föreställer en interiör med två figurer sittande i stolar, badande i mjukt ljus som sipprar in genom en öppen dörröppning. Rummet är prytt med mönstrade tapeter och textilier, som smälter samman till en enhetlig yta. Figurerna är delvis skymda av de dekorativa elementen, vilket integrerar dem i rummets övergripande design. Ett bord täckt med en mönstrad duk står i förgrunden, vilket förstärker känslan av hemtrevnad. Den öppna dörröppningen ger en glimt av omvärlden, vilket kontrasterar mot det slutna interiörrummet. Vuillards känsla för detaljer och hans förmåga att fånga atmosfären i ett rum gör denna målning till ett fängslande exempel på hans unika stil.
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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.
Komplettera looken
Interiör - Édouard Vuillard
Ordinarie pris
Från £37.00 GBP
Reapris
Från £37.00 GBP
Ordinarie pris
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Edouard Vuillard
Vuillard's father was a retired naval captain, twenty-seven years older than his mother. When the father died, Edouard was fifteen. His mother, a seamstress who ran a corset and dressmaking business from home, became the centre of his life and stayed there. They shared a series of small Parisian apartments until her death in 1928. He painted her more than five hundred times over four decades.
He joined the Nabis in the early 1890s, a group of young painters who took their name from the Hebrew word for prophets. The others (Bonnard, Denis, Serusier) were drawn to mysticism and esoteric philosophy. Vuillard was drawn to the interior. His mother's workroom, with its bolts of fabric, wallpaper patterns, and women in patterned dresses, became his subject. The paintings flatten space: the figure merges with the wallpaper, the dress dissolves into the upholstery, the room becomes a single surface of competing patterns. Critics called the approach Intimism.
He painted almost exclusively domestic scenes: rooms, tables, women sewing, women reading. The scale is modest. The colours are muted. There is no drama, no allegory, no mythology. The work assumes that a woman sitting in a chair in a room with good light is enough to make a painting, which it is.
He never married. He lived with his mother until she died and then lived alone. In the late twentieth century, historians began to reassess his decorative work (screens, murals, theatre sets for Lugne-Poe's Theatre de l'Oeuvre) and recognised that the small domestic paintings were not minor work but a deliberate programme: the interior as a subject equal to landscape or history.
He joined the Nabis in the early 1890s, a group of young painters who took their name from the Hebrew word for prophets. The others (Bonnard, Denis, Serusier) were drawn to mysticism and esoteric philosophy. Vuillard was drawn to the interior. His mother's workroom, with its bolts of fabric, wallpaper patterns, and women in patterned dresses, became his subject. The paintings flatten space: the figure merges with the wallpaper, the dress dissolves into the upholstery, the room becomes a single surface of competing patterns. Critics called the approach Intimism.
He painted almost exclusively domestic scenes: rooms, tables, women sewing, women reading. The scale is modest. The colours are muted. There is no drama, no allegory, no mythology. The work assumes that a woman sitting in a chair in a room with good light is enough to make a painting, which it is.
He never married. He lived with his mother until she died and then lived alone. In the late twentieth century, historians began to reassess his decorative work (screens, murals, theatre sets for Lugne-Poe's Theatre de l'Oeuvre) and recognised that the small domestic paintings were not minor work but a deliberate programme: the interior as a subject equal to landscape or history.
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 £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.
Varför välja oss?
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Material av museikvalitet
Artistbiografi
Édouard Vuillard
Vuillard's father was a retired naval captain, twenty-seven years older than his mother. When the father died, Edouard was fifteen. His mother, a seamstress who ran a corset and dressmaking business from home, became the centre of his life and stayed there. They shared a series of small Parisian apartments until her death in 1928. He painted her more than five hundred times over four decades.
He joined the Nabis in the early 1890s, a group of young painters who took their name from the Hebrew word for prophets. The others (Bonnard, Denis, Serusier) were drawn to mysticism and esoteric philosophy. Vuillard was drawn to the interior. His mother's workroom, with its bolts of fabric, wallpaper patterns, and women in patterned dresses, became his subject. The paintings flatten space: the figure merges with the wallpaper, the dress dissolves into the upholstery, the room becomes a single surface of competing patterns. Critics called the approach Intimism.
He painted almost exclusively domestic scenes: rooms, tables, women sewing, women reading. The scale is modest. The colours are muted. There is no drama, no allegory, no mythology. The work assumes that a woman sitting in a chair in a room with good light is enough to make a painting, which it is.
He never married. He lived with his mother until she died and then lived alone. In the late twentieth century, historians began to reassess his decorative work (screens, murals, theatre sets for Lugne-Poe's Theatre de l'Oeuvre) and recognised that the small domestic paintings were not minor work but a deliberate programme: the interior as a subject equal to landscape or history.
He joined the Nabis in the early 1890s, a group of young painters who took their name from the Hebrew word for prophets. The others (Bonnard, Denis, Serusier) were drawn to mysticism and esoteric philosophy. Vuillard was drawn to the interior. His mother's workroom, with its bolts of fabric, wallpaper patterns, and women in patterned dresses, became his subject. The paintings flatten space: the figure merges with the wallpaper, the dress dissolves into the upholstery, the room becomes a single surface of competing patterns. Critics called the approach Intimism.
He painted almost exclusively domestic scenes: rooms, tables, women sewing, women reading. The scale is modest. The colours are muted. There is no drama, no allegory, no mythology. The work assumes that a woman sitting in a chair in a room with good light is enough to make a painting, which it is.
He never married. He lived with his mother until she died and then lived alone. In the late twentieth century, historians began to reassess his decorative work (screens, murals, theatre sets for Lugne-Poe's Theatre de l'Oeuvre) and recognised that the small domestic paintings were not minor work but a deliberate programme: the interior as a subject equal to landscape or history.
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