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.
Vår - Eugène Grasset
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
Ramar levereras klara att hängas upp
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Tillverkad på beställning
Beskrivning
En allegorisk glasmålningsdesign av Eugène Grasset, föreställande en kvinnlig figur som representerar våren bland blommande irisar och ett blommande träd.
Eugène Grasset, en schweizisk designer verksam i Frankrike, skapade detta verk under Art Nouveau-rörelsens höjdpunkt. Kompositionen föreställer en kvinnlig figur som personifierar våren. Hon bär en blomsterkrona och en korg med blommor, samtidigt som hon sträcker sig mot en grupp irisar. Bakgrunden visar ett blommande träd och flygande fåglar, inramat av en dekorativ bård med upprepade våg- och solmotiv. Grasset var en betydande gestalt i utvecklingen av modern grafisk design och dekorativ konst. Hans tillvägagångssätt kombinerade studier av naturliga former med den stiliserade geometri som var karakteristisk för perioden. Användningen av blyinfattade linjer i denna glasmålning definierar figurens konturer och den omgivande floran, vilket skapar en tydlig separation mellan förgrunden och himlen. Färgpaletten bygger på mjuka blå, jordnära bruna och dämpade gula toner, som återspeglar övergången från vinter till de varmare månaderna. Detta verk visar inflytandet från japanska träsnitt på europeiska konstnärer under det sena 1800-talet, särskilt i den platta behandlingen av himlen och den rytmiska arrangemanget av bården. Figuren är återgiven med en känsla av grace, typisk för Grassets illustrationer för affischer och böcker. Verket fungerar som en dekorativ panel, avsedd att föra in den naturliga världen i ett interiört utrymme genom ljusets och glasets medium. Genom att fokusera på årscykeln kopplar Grasset betraktaren till naturens rytmer, ett vanligt tema i hans bredare verk. Balansen mellan blommornas organiska former och den strukturerade rutnätet av blyinfattningarna ger scenen en känsla av ordning, vilket säkerställer att kompositionen förblir sammanhängande när den betraktas som en helhet.
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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
Vår - Eugène Grasset
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Eugène Grasset
Louis Comfort Tiffany recreated one of Grasset's poster designs in stained glass. The image, a "Wooly Horse" for the 1892 Christmas issue of Harper's Magazine, had proved so popular in America that Tiffany saw an opportunity to translate it into his own medium. It was an unusual tribute: one designer's poster becoming another designer's window.
Grasset was born in Lausanne in 1845, the son of a cabinetmaker and sculptor who taught him to use a chisel before he could draw. He studied drawing under Francois Bocion, then architecture in Zurich. A trip to Egypt after completing his education left a permanent mark on his visual vocabulary. He moved to Paris in 1871 and began designing furniture, wallpapers, fabrics, tapestries, ceramics and jewellery before turning to graphic design in 1877.
Poster art became his primary medium. His style drew on Viollet-le-Duc's theories of decorative structure, Japanese woodblock prints and Egyptian ornament, combined into flowing compositions that helped define Art Nouveau before the term existed. The G. Peignot et Fils typefoundry introduced the "Grasset" typeface at the 1900 Universal Exhibition, an italic design he created for use on his posters. He also collaborated with the jeweller Henri Vever on pieces that merged Art Nouveau organic forms with mythological subjects.
He taught design at a succession of Paris institutions from 1890 until 1913, including the Ecole Guerin, the Ecole Estienne and the Academie de la Grande Chaumiere. His influence on the generation of designers who followed him was extensive but largely unacknowledged outside France. He died in 1917, at seventy-two.
Grasset was born in Lausanne in 1845, the son of a cabinetmaker and sculptor who taught him to use a chisel before he could draw. He studied drawing under Francois Bocion, then architecture in Zurich. A trip to Egypt after completing his education left a permanent mark on his visual vocabulary. He moved to Paris in 1871 and began designing furniture, wallpapers, fabrics, tapestries, ceramics and jewellery before turning to graphic design in 1877.
Poster art became his primary medium. His style drew on Viollet-le-Duc's theories of decorative structure, Japanese woodblock prints and Egyptian ornament, combined into flowing compositions that helped define Art Nouveau before the term existed. The G. Peignot et Fils typefoundry introduced the "Grasset" typeface at the 1900 Universal Exhibition, an italic design he created for use on his posters. He also collaborated with the jeweller Henri Vever on pieces that merged Art Nouveau organic forms with mythological subjects.
He taught design at a succession of Paris institutions from 1890 until 1913, including the Ecole Guerin, the Ecole Estienne and the Academie de la Grande Chaumiere. His influence on the generation of designers who followed him was extensive but largely unacknowledged outside France. He died in 1917, at seventy-two.
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
Eugène Grasset
Louis Comfort Tiffany recreated one of Grasset's poster designs in stained glass. The image, a "Wooly Horse" for the 1892 Christmas issue of Harper's Magazine, had proved so popular in America that Tiffany saw an opportunity to translate it into his own medium. It was an unusual tribute: one designer's poster becoming another designer's window.
Grasset was born in Lausanne in 1845, the son of a cabinetmaker and sculptor who taught him to use a chisel before he could draw. He studied drawing under Francois Bocion, then architecture in Zurich. A trip to Egypt after completing his education left a permanent mark on his visual vocabulary. He moved to Paris in 1871 and began designing furniture, wallpapers, fabrics, tapestries, ceramics and jewellery before turning to graphic design in 1877.
Poster art became his primary medium. His style drew on Viollet-le-Duc's theories of decorative structure, Japanese woodblock prints and Egyptian ornament, combined into flowing compositions that helped define Art Nouveau before the term existed. The G. Peignot et Fils typefoundry introduced the "Grasset" typeface at the 1900 Universal Exhibition, an italic design he created for use on his posters. He also collaborated with the jeweller Henri Vever on pieces that merged Art Nouveau organic forms with mythological subjects.
He taught design at a succession of Paris institutions from 1890 until 1913, including the Ecole Guerin, the Ecole Estienne and the Academie de la Grande Chaumiere. His influence on the generation of designers who followed him was extensive but largely unacknowledged outside France. He died in 1917, at seventy-two.
Grasset was born in Lausanne in 1845, the son of a cabinetmaker and sculptor who taught him to use a chisel before he could draw. He studied drawing under Francois Bocion, then architecture in Zurich. A trip to Egypt after completing his education left a permanent mark on his visual vocabulary. He moved to Paris in 1871 and began designing furniture, wallpapers, fabrics, tapestries, ceramics and jewellery before turning to graphic design in 1877.
Poster art became his primary medium. His style drew on Viollet-le-Duc's theories of decorative structure, Japanese woodblock prints and Egyptian ornament, combined into flowing compositions that helped define Art Nouveau before the term existed. The G. Peignot et Fils typefoundry introduced the "Grasset" typeface at the 1900 Universal Exhibition, an italic design he created for use on his posters. He also collaborated with the jeweller Henri Vever on pieces that merged Art Nouveau organic forms with mythological subjects.
He taught design at a succession of Paris institutions from 1890 until 1913, including the Ecole Guerin, the Ecole Estienne and the Academie de la Grande Chaumiere. His influence on the generation of designers who followed him was extensive but largely unacknowledged outside France. He died in 1917, at seventy-two.
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