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.
Salome - Charles Maurin
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
En akvarellmålning av Charles Maurin, "Salome" avbildar en figur med en delikat, eterisk kvalitet, vilket speglar konstnärens intresse för att fånga känslomässiga tillstånd genom uttrycksfulla linjer och färg.
Charles Maurins akvarellmålning, Salome, presenterar en figur utförd med en delikat, nästan eterisk kvalitet. Maurin, en fransk konstnär associerad med symbolismen och postimpressionismen, utforskade ofta teman kring kvinnlighet och det mänskliga tillståndet. Detta verk speglar hans intresse för att fånga känslomässiga tillstånd genom uttrycksfulla linjer och färg. Motivet, Salome, är avbildad i en flödande vit klänning accentuerad med svarta och blå detaljer. Hennes blick är riktad nedåt, vilket förmedlar en känsla av introspektion. Bakgrunden är löst definierad med tvättar av orange och blått, vilket skapar en atmosfärisk miljö. Maurins teknik använder en lätt hand, vilket låter akvarellen blandas och skapa mjuka övergångar. Kompositionen är balanserad, där figuren upptar större delen av utrymmet och drar betraktarens uppmärksamhet till hennes närvaro och stämning. Helhetsintrycket är en tyst kontemplation och nedtonad dramatik.
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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
Salome - Charles Maurin
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Charles Maurin
Maurin organised Toulouse-Lautrec's first solo exhibition, in 1893. He was a friend and mentor to Felix Vallotton, a close associate of Ambroise Vollard, and a regular exhibitor at Josephin Peladan's Salon de la Rose+Croix. Despite these connections to the centre of Post-Impressionist and Symbolist Paris, he remains almost unknown today, overshadowed by the artists he championed.
He was born in Le Puy-en-Velay in 1856. The Prix Crozatier funded his move to Paris, where he studied at the Ecole des Beaux-Arts under Jules Lefebvre and at the Academie Julian, where he later taught. He exhibited at the Salon from 1883 and participated in the Rose+Croix exhibitions between 1892 and 1897.
His dual mastery of painting and printmaking made him a bridging figure between Symbolism and the 1890s revival of colour printmaking. His colour etchings and wood engravings from this period are technically accomplished and compositionally inventive. His painted work, particularly his Symbolist studies of maternity, combines academic draughtsmanship with the decorative flatness of the Nabis. He was among a handful of artists who understood both the chemical processes of printmaking and the aesthetic possibilities of colour on paper, and his technical innovations influenced the next generation of French printmakers. He died in 1914, at fifty-eight, on the eve of the war that would scatter the world he had helped build.
He was born in Le Puy-en-Velay in 1856. The Prix Crozatier funded his move to Paris, where he studied at the Ecole des Beaux-Arts under Jules Lefebvre and at the Academie Julian, where he later taught. He exhibited at the Salon from 1883 and participated in the Rose+Croix exhibitions between 1892 and 1897.
His dual mastery of painting and printmaking made him a bridging figure between Symbolism and the 1890s revival of colour printmaking. His colour etchings and wood engravings from this period are technically accomplished and compositionally inventive. His painted work, particularly his Symbolist studies of maternity, combines academic draughtsmanship with the decorative flatness of the Nabis. He was among a handful of artists who understood both the chemical processes of printmaking and the aesthetic possibilities of colour on paper, and his technical innovations influenced the next generation of French printmakers. He died in 1914, at fifty-eight, on the eve of the war that would scatter the world he had helped build.
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
Charles Maurin
Maurin organised Toulouse-Lautrec's first solo exhibition, in 1893. He was a friend and mentor to Felix Vallotton, a close associate of Ambroise Vollard, and a regular exhibitor at Josephin Peladan's Salon de la Rose+Croix. Despite these connections to the centre of Post-Impressionist and Symbolist Paris, he remains almost unknown today, overshadowed by the artists he championed.
He was born in Le Puy-en-Velay in 1856. The Prix Crozatier funded his move to Paris, where he studied at the Ecole des Beaux-Arts under Jules Lefebvre and at the Academie Julian, where he later taught. He exhibited at the Salon from 1883 and participated in the Rose+Croix exhibitions between 1892 and 1897.
His dual mastery of painting and printmaking made him a bridging figure between Symbolism and the 1890s revival of colour printmaking. His colour etchings and wood engravings from this period are technically accomplished and compositionally inventive. His painted work, particularly his Symbolist studies of maternity, combines academic draughtsmanship with the decorative flatness of the Nabis. He was among a handful of artists who understood both the chemical processes of printmaking and the aesthetic possibilities of colour on paper, and his technical innovations influenced the next generation of French printmakers. He died in 1914, at fifty-eight, on the eve of the war that would scatter the world he had helped build.
He was born in Le Puy-en-Velay in 1856. The Prix Crozatier funded his move to Paris, where he studied at the Ecole des Beaux-Arts under Jules Lefebvre and at the Academie Julian, where he later taught. He exhibited at the Salon from 1883 and participated in the Rose+Croix exhibitions between 1892 and 1897.
His dual mastery of painting and printmaking made him a bridging figure between Symbolism and the 1890s revival of colour printmaking. His colour etchings and wood engravings from this period are technically accomplished and compositionally inventive. His painted work, particularly his Symbolist studies of maternity, combines academic draughtsmanship with the decorative flatness of the Nabis. He was among a handful of artists who understood both the chemical processes of printmaking and the aesthetic possibilities of colour on paper, and his technical innovations influenced the next generation of French printmakers. He died in 1914, at fifty-eight, on the eve of the war that would scatter the world he had helped build.
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