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.
Quai des Grands-Augustins - Albert Marquet
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
Säker utcheckning
Tillverkad på beställning
Beskrivning
En vy över Quai des Grands-Augustins i Paris, fångad i en dämpad, stämningsfull stil som betonar den stilla rytmen av en regnig stadsdag.
Albert Marquet, en samtida till Henri Matisse, utvecklade ett distinkt sätt att observera staden som föredrog atmosfärisk klarhet framför de aggressiva färgpaletter som ofta associerades med hans kollegor. Detta verk fångar en vy över Quai des Grands-Augustins i Paris under en period av dåligt väder. Kompositionen definieras av en hög utsiktspunkt, ett perspektiv Marquet ofta använde för att dokumentera det rytmiska flödet av stadslivet nedanför.
Scenen domineras av en dämpad, tonad palett som förmedlar fuktigheten från en regnig dag. Kala träd kantar flodbanken, deras mörka, skelettliknande former utgör en vertikal motvikt till den horisontella svepningen av floden och gatan. Vägytan reflekterar den grå himlen, medan Seine själv återges i subtila, svala gröna nyanser. Fordon och fotgängare reduceras till förenklade former, vilket antyder stadslivets övergående natur. Marquet undviker överdriven detaljrikedom och väljer istället en syntes av form som prioriterar den övergripande stämningen i omgivningen.
Till skillnad från de mer radikala experimenten under den tidiga Fauve-perioden visar denna målning en mogen återhållsamhet. Penselföringen är kontrollerad, applicerad med en precision som definierar de strukturella elementen i den parisiska arkitekturen och de omgivande kajerna. Konstnären håller avstånd till sitt motiv och agerar som en objektiv observatör av staden. Detta verk ger en inblick i den lugnare sidan av det tidiga 1900-talets Paris, där samspelet mellan ljus, vatten och sten skapar en känsla av stillhet mitt i stadsmiljön. Det är en studie i observation, som fångar de specifika atmosfäriska förhållandena i den franska huvudstaden med sparsamhet och teknisk skicklighet.
Returpolicy
Eftersom varje tryck görs på beställning erbjuder vi inte returer, återbetalningar eller byten på grund av ändrade åsikter. Om din beställning kommer fram felaktig, skadad eller fel, ersätter vi den kostnadsfritt – kontakta oss bara inom 48 timmar efter leverans. Se vår återbetalningssida för fullständig information.
Frakt
Vi skickar till hela världen och trycker vid den produktionsanläggning som är närmast din leveransadress. Leveranstider och kostnader varierar beroende på destination – du ser tillgängliga alternativ i kassan.
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
Quai des Grands-Augustins - Albert Marquet
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Albert Marquet
The man who named the Fauves had reservations about one of them. Louis Vauxcelles, the critic whose offhand remark at the 1905 Salon d'Automne gave the movement its name, later wrote that Marquet "has nothing of the Fauve about him. He does not roar, he speaks and has always spoken in a precisely measured manner... He only entered the 'central cage' at the 1905 Salon d'Automne so as not to abandon his pals." It is an oddly affectionate dismissal, and closer to the truth than most accounts of Fauvism allow.
Marquet was born in Bordeaux on 27 March 1875, the son of a railway clerk. His mother moved the family to Paris to support his artistic education, and he enrolled at the Ecole des Arts Décoratifs in 1890, where he met Henri Matisse; the friendship lasted the rest of his life. The two painters shared studios and worked side by side for years, but their mature styles could scarcely be more different. Where Matisse reached for triumphant colour, Marquet worked with grey haze, snow light, and the tonal restraint of an elevated viewpoint over water.
His approach is visible in "The Beach at Fécamp" (1906, 51 x 61 cm, Musée National d'Art Moderne, Paris): the beach runs diagonally, figures and boats reduced to laconic dark brushstrokes, with only two sailors' blue collars and a red flag providing any colour accent. Similar economy governs the Paris quai paintings in the State Hermitage: "Rainy Day. Notre Dame de Paris" (1910, 81 x 66 cm) and "Louvre Embankment and the New Bridge" (1906, 60 x 73 cm), where cold grey mist substitutes for the chromatic intensity his contemporaries were deploying elsewhere.
He continued working until days before his death. Returning from an operation on 31 January 1947, he immediately picked up his brush to capture falling snow from his apartment window at 1 Rue Dauphine, Paris. He died there on 14 June 1947.
Marquet was born in Bordeaux on 27 March 1875, the son of a railway clerk. His mother moved the family to Paris to support his artistic education, and he enrolled at the Ecole des Arts Décoratifs in 1890, where he met Henri Matisse; the friendship lasted the rest of his life. The two painters shared studios and worked side by side for years, but their mature styles could scarcely be more different. Where Matisse reached for triumphant colour, Marquet worked with grey haze, snow light, and the tonal restraint of an elevated viewpoint over water.
His approach is visible in "The Beach at Fécamp" (1906, 51 x 61 cm, Musée National d'Art Moderne, Paris): the beach runs diagonally, figures and boats reduced to laconic dark brushstrokes, with only two sailors' blue collars and a red flag providing any colour accent. Similar economy governs the Paris quai paintings in the State Hermitage: "Rainy Day. Notre Dame de Paris" (1910, 81 x 66 cm) and "Louvre Embankment and the New Bridge" (1906, 60 x 73 cm), where cold grey mist substitutes for the chromatic intensity his contemporaries were deploying elsewhere.
He continued working until days before his death. Returning from an operation on 31 January 1947, he immediately picked up his brush to capture falling snow from his apartment window at 1 Rue Dauphine, Paris. He died there on 14 June 1947.
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.
Varför välja oss?
Leveransgaranti utan skador
Snabb leverans
Material av museikvalitet
Artistbiografi
Albert Marquet
The man who named the Fauves had reservations about one of them. Louis Vauxcelles, the critic whose offhand remark at the 1905 Salon d'Automne gave the movement its name, later wrote that Marquet "has nothing of the Fauve about him. He does not roar, he speaks and has always spoken in a precisely measured manner... He only entered the 'central cage' at the 1905 Salon d'Automne so as not to abandon his pals." It is an oddly affectionate dismissal, and closer to the truth than most accounts of Fauvism allow.
Marquet was born in Bordeaux on 27 March 1875, the son of a railway clerk. His mother moved the family to Paris to support his artistic education, and he enrolled at the Ecole des Arts Décoratifs in 1890, where he met Henri Matisse; the friendship lasted the rest of his life. The two painters shared studios and worked side by side for years, but their mature styles could scarcely be more different. Where Matisse reached for triumphant colour, Marquet worked with grey haze, snow light, and the tonal restraint of an elevated viewpoint over water.
His approach is visible in "The Beach at Fécamp" (1906, 51 x 61 cm, Musée National d'Art Moderne, Paris): the beach runs diagonally, figures and boats reduced to laconic dark brushstrokes, with only two sailors' blue collars and a red flag providing any colour accent. Similar economy governs the Paris quai paintings in the State Hermitage: "Rainy Day. Notre Dame de Paris" (1910, 81 x 66 cm) and "Louvre Embankment and the New Bridge" (1906, 60 x 73 cm), where cold grey mist substitutes for the chromatic intensity his contemporaries were deploying elsewhere.
He continued working until days before his death. Returning from an operation on 31 January 1947, he immediately picked up his brush to capture falling snow from his apartment window at 1 Rue Dauphine, Paris. He died there on 14 June 1947.
Marquet was born in Bordeaux on 27 March 1875, the son of a railway clerk. His mother moved the family to Paris to support his artistic education, and he enrolled at the Ecole des Arts Décoratifs in 1890, where he met Henri Matisse; the friendship lasted the rest of his life. The two painters shared studios and worked side by side for years, but their mature styles could scarcely be more different. Where Matisse reached for triumphant colour, Marquet worked with grey haze, snow light, and the tonal restraint of an elevated viewpoint over water.
His approach is visible in "The Beach at Fécamp" (1906, 51 x 61 cm, Musée National d'Art Moderne, Paris): the beach runs diagonally, figures and boats reduced to laconic dark brushstrokes, with only two sailors' blue collars and a red flag providing any colour accent. Similar economy governs the Paris quai paintings in the State Hermitage: "Rainy Day. Notre Dame de Paris" (1910, 81 x 66 cm) and "Louvre Embankment and the New Bridge" (1906, 60 x 73 cm), where cold grey mist substitutes for the chromatic intensity his contemporaries were deploying elsewhere.
He continued working until days before his death. Returning from an operation on 31 January 1947, he immediately picked up his brush to capture falling snow from his apartment window at 1 Rue Dauphine, Paris. He died there on 14 June 1947.
Du kanske också gillar