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.
Människor vid en blå sjö - August Macke
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
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Beskrivning
August Mackes "Människor vid en blå sjö" är en levande expressionistisk målning från 1913, som visar djärva färger och förenklade former i en harmonisk blandning av figurer och landskap. Ett slående konsttryck för att tillföra modernistisk elegans till varje rum.
August Mackes "Människor vid en blå sjö", målad 1913, exemplifierar hans distinkta förhållningssätt till expressionismen, genom att blanda livfulla färger med en förenklad, nästan abstrakt figuration. Macke, en nyckelmedlem i den tyska expressionistgruppen Der Blaue Reiter, strävade efter att fånga den känslomässiga och andliga essensen av sina motiv snarare än en rent representativ likhet. Detta verk föreställer en grupp figurer i en landskapsmiljö, återgivna med djärva penseldrag och en slående palett av blått, grönt, gult och brunt. Kompositionen är noggrant balanserad, med figurerna integrerade i de naturliga omgivningarna, vilket skapar ett harmoniskt samspel mellan människan och naturen. Målningens attraktionskraft som konsttryck ligger i dess förmåga att tillföra en touch av modernistisk elegans och livfull färg i hemmet. De förenklade formerna och det uttrycksfulla färgvalet gör det till ett visuellt engagerande verk som kan komplettera en mängd olika inredningsstilar, från minimalistiskt till eklektiskt. Ämnet, som skildrar människor som njuter av en avkopplande stund i naturen, framkallar en känsla av lugn och flykt, vilket gör det till ett idealiskt tillskott till ett vardagsrum, arbetsrum eller hall. Dess relativt lilla storlek säkerställer att den bekvämt kan passa in i olika utrymmen, och tillföra en sofistikerad och konstnärlig touch till varje rum.
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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
Människor vid en blå sjö - August Macke
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
August Macke
Macke was twenty-seven when he was killed on the Western Front in September 1914. He had been painting seriously for about six years. In April of that same year he had been in Tunisia with Paul Klee and Louis Moilliet, making watercolours in the souks of Tunis and Kairouan. The gap between the two events, four months, is one of the starkest in modern art.
He grew up in a family of building contractors in Meschede, Westphalia, with no artistic connections. He visited Paris multiple times and absorbed Impressionism, Fauvism and Cubism in rapid succession, but his paintings look like none of those movements. What he took from France was colour: warm, saturated, joyful. His street scenes, market squares and park promenades glow with a light that belongs to someone who finds the world beautiful and wants to record it before it changes.
He met Franz Marc in 1910, and through Marc became involved with Der Blaue Reiter. His temperament was the opposite of Kandinsky's theoretical intensity. Macke painted intuitively, quickly, and with an optimism that made him the most approachable of the German Expressionists.
The Tunisian watercolours are his finest work: small, luminous, almost abstract in their reduction of architecture and figures to planes of colour. Klee wrote afterward that colour had taken possession of him. The same could be said of Macke, who had been working toward that moment for years.
He was drafted immediately when war broke out. His wife Elisabeth received notification of his death six weeks later. Marc, his closest friend, was killed at Verdun in 1916.
He grew up in a family of building contractors in Meschede, Westphalia, with no artistic connections. He visited Paris multiple times and absorbed Impressionism, Fauvism and Cubism in rapid succession, but his paintings look like none of those movements. What he took from France was colour: warm, saturated, joyful. His street scenes, market squares and park promenades glow with a light that belongs to someone who finds the world beautiful and wants to record it before it changes.
He met Franz Marc in 1910, and through Marc became involved with Der Blaue Reiter. His temperament was the opposite of Kandinsky's theoretical intensity. Macke painted intuitively, quickly, and with an optimism that made him the most approachable of the German Expressionists.
The Tunisian watercolours are his finest work: small, luminous, almost abstract in their reduction of architecture and figures to planes of colour. Klee wrote afterward that colour had taken possession of him. The same could be said of Macke, who had been working toward that moment for years.
He was drafted immediately when war broke out. His wife Elisabeth received notification of his death six weeks later. Marc, his closest friend, was killed at Verdun in 1916.
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.
Premium Box Frame
From £85
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From £30
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From £135
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
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Material av museikvalitet
Artistbiografi
August Macke
Macke was twenty-seven when he was killed on the Western Front in September 1914. He had been painting seriously for about six years. In April of that same year he had been in Tunisia with Paul Klee and Louis Moilliet, making watercolours in the souks of Tunis and Kairouan. The gap between the two events, four months, is one of the starkest in modern art.
He grew up in a family of building contractors in Meschede, Westphalia, with no artistic connections. He visited Paris multiple times and absorbed Impressionism, Fauvism and Cubism in rapid succession, but his paintings look like none of those movements. What he took from France was colour: warm, saturated, joyful. His street scenes, market squares and park promenades glow with a light that belongs to someone who finds the world beautiful and wants to record it before it changes.
He met Franz Marc in 1910, and through Marc became involved with Der Blaue Reiter. His temperament was the opposite of Kandinsky's theoretical intensity. Macke painted intuitively, quickly, and with an optimism that made him the most approachable of the German Expressionists.
The Tunisian watercolours are his finest work: small, luminous, almost abstract in their reduction of architecture and figures to planes of colour. Klee wrote afterward that colour had taken possession of him. The same could be said of Macke, who had been working toward that moment for years.
He was drafted immediately when war broke out. His wife Elisabeth received notification of his death six weeks later. Marc, his closest friend, was killed at Verdun in 1916.
He grew up in a family of building contractors in Meschede, Westphalia, with no artistic connections. He visited Paris multiple times and absorbed Impressionism, Fauvism and Cubism in rapid succession, but his paintings look like none of those movements. What he took from France was colour: warm, saturated, joyful. His street scenes, market squares and park promenades glow with a light that belongs to someone who finds the world beautiful and wants to record it before it changes.
He met Franz Marc in 1910, and through Marc became involved with Der Blaue Reiter. His temperament was the opposite of Kandinsky's theoretical intensity. Macke painted intuitively, quickly, and with an optimism that made him the most approachable of the German Expressionists.
The Tunisian watercolours are his finest work: small, luminous, almost abstract in their reduction of architecture and figures to planes of colour. Klee wrote afterward that colour had taken possession of him. The same could be said of Macke, who had been working toward that moment for years.
He was drafted immediately when war broke out. His wife Elisabeth received notification of his death six weeks later. Marc, his closest friend, was killed at Verdun in 1916.
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