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.
Schönenberg - Hans Thoma
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 detaljerad etsning av Hans Thoma som avbildar den lantliga Schwarzwald-byn Schönenberg, utförd med exakt linjearbete och en kontemplativ atmosfär.
Hans Thoma, en person förknippad med den tyska symbolistiska rörelsen, vände ofta sin uppmärksamhet mot den Schwarzwald-region där han föddes. Denna etsning, som avbildar byn Schönenberg, fångar den lantliga terrängens lugna karaktär. Thoma använder en exakt, linjär teknik för att avgränsa de böljande kullarna, klungan av traditionella bondgårdar och det täta lövverket som definierar området. Kompositionen är strukturerad med en förgrundsfigur, troligen en ensam observatör, placerad på en grässlänt. Denna individ ger en känsla av skala och inbjuder betraktaren att engagera sig i den vidsträckta, böljande topografin bortom. Thoma var känd för sin tekniska skicklighet inom grafik, ett medium han använde för att utforska teman som natur och regional identitet. Hans tillvägagångssätt här undviker överdriven utsmyckning, och föredrar istället en tydlig, observerande stil som dokumenterar dalens arkitektur och geografi. Linjerna är kontrollerade och medvetna, vilket skapar textur i träden och skuggor på sluttningarna. Verket återspeglar en period i tysk konst då konstnärer försökte förena akademisk utbildning med ett direkt, uppriktigt engagemang i sin omedelbara omgivning. Genom att fokusera på detaljerna i Schönenberg-dalen skapar Thoma en redogörelse för en plats som förblev en ständig inspirationskälla under hela hans karriär. Trycket visar hans förmåga att översätta det tyska landskapets atmosfäriska kvaliteter till etsningsplattans skarpa, monokroma språk, vilket resulterar i ett verk som balanserar topografisk noggrannhet med en kontemplativ, pastoral stämning.
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
Schönenberg - Hans Thoma
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Hans Thoma
Thoma learned to paint from a clock-face maker. He was born in Bernau, in the Black Forest, in 1839; his father was a woodworker, his mother came from a family of artisans. He started as a lithographer's apprentice in Basel, then as a clock-face painter in Furtwangen, completing neither apprenticeship before entering the Karlsruhe Academy in 1859.
A trip to Paris in 1868 with his friend Otto Scholderer exposed him to Courbet and the Barbizon painters, whose realism influenced his landscape style. He moved to Munich and spent six years there, then to Frankfurt, where he lived from 1876 to 1899. He also spent extended periods in Italy, becoming one of the "German Romans", artists who found in Renaissance observation a means of contemporary expression that fed into European Symbolism.
His landscapes of the Black Forest, with their deep greens, rounded hills and pastoral stillness, made him the best-known painter of that region. He also painted mythological and Symbolist subjects, self-portraits with allegorical figures, and genre scenes of German rural life. He married his student Cella Berteneder, who became known as a painter of flowers and still lifes.
In 1899 he was appointed director of the Kunsthalle Karlsruhe, a position he held until 1919. After his death in 1924, his work was appropriated by nationalist and Nazi ideology, and several paintings were looted from Jewish collectors during the Third Reich. The association has complicated his posthumous reputation. He remains little known outside Germany, a painter whose Black Forest landscapes speak to regional identity with an honesty that the political appropriation could not quite destroy.
A trip to Paris in 1868 with his friend Otto Scholderer exposed him to Courbet and the Barbizon painters, whose realism influenced his landscape style. He moved to Munich and spent six years there, then to Frankfurt, where he lived from 1876 to 1899. He also spent extended periods in Italy, becoming one of the "German Romans", artists who found in Renaissance observation a means of contemporary expression that fed into European Symbolism.
His landscapes of the Black Forest, with their deep greens, rounded hills and pastoral stillness, made him the best-known painter of that region. He also painted mythological and Symbolist subjects, self-portraits with allegorical figures, and genre scenes of German rural life. He married his student Cella Berteneder, who became known as a painter of flowers and still lifes.
In 1899 he was appointed director of the Kunsthalle Karlsruhe, a position he held until 1919. After his death in 1924, his work was appropriated by nationalist and Nazi ideology, and several paintings were looted from Jewish collectors during the Third Reich. The association has complicated his posthumous reputation. He remains little known outside Germany, a painter whose Black Forest landscapes speak to regional identity with an honesty that the political appropriation could not quite destroy.
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.
Varför välja oss?
Leveransgaranti utan skador
Snabb leverans
Material av museikvalitet
Artistbiografi
Hans Thoma
Thoma learned to paint from a clock-face maker. He was born in Bernau, in the Black Forest, in 1839; his father was a woodworker, his mother came from a family of artisans. He started as a lithographer's apprentice in Basel, then as a clock-face painter in Furtwangen, completing neither apprenticeship before entering the Karlsruhe Academy in 1859.
A trip to Paris in 1868 with his friend Otto Scholderer exposed him to Courbet and the Barbizon painters, whose realism influenced his landscape style. He moved to Munich and spent six years there, then to Frankfurt, where he lived from 1876 to 1899. He also spent extended periods in Italy, becoming one of the "German Romans", artists who found in Renaissance observation a means of contemporary expression that fed into European Symbolism.
His landscapes of the Black Forest, with their deep greens, rounded hills and pastoral stillness, made him the best-known painter of that region. He also painted mythological and Symbolist subjects, self-portraits with allegorical figures, and genre scenes of German rural life. He married his student Cella Berteneder, who became known as a painter of flowers and still lifes.
In 1899 he was appointed director of the Kunsthalle Karlsruhe, a position he held until 1919. After his death in 1924, his work was appropriated by nationalist and Nazi ideology, and several paintings were looted from Jewish collectors during the Third Reich. The association has complicated his posthumous reputation. He remains little known outside Germany, a painter whose Black Forest landscapes speak to regional identity with an honesty that the political appropriation could not quite destroy.
A trip to Paris in 1868 with his friend Otto Scholderer exposed him to Courbet and the Barbizon painters, whose realism influenced his landscape style. He moved to Munich and spent six years there, then to Frankfurt, where he lived from 1876 to 1899. He also spent extended periods in Italy, becoming one of the "German Romans", artists who found in Renaissance observation a means of contemporary expression that fed into European Symbolism.
His landscapes of the Black Forest, with their deep greens, rounded hills and pastoral stillness, made him the best-known painter of that region. He also painted mythological and Symbolist subjects, self-portraits with allegorical figures, and genre scenes of German rural life. He married his student Cella Berteneder, who became known as a painter of flowers and still lifes.
In 1899 he was appointed director of the Kunsthalle Karlsruhe, a position he held until 1919. After his death in 1924, his work was appropriated by nationalist and Nazi ideology, and several paintings were looted from Jewish collectors during the Third Reich. The association has complicated his posthumous reputation. He remains little known outside Germany, a painter whose Black Forest landscapes speak to regional identity with an honesty that the political appropriation could not quite destroy.
Du kanske också gillar