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.
Vårmorgon – James Tissot
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
Denna etsning av James Tissot, med titeln Spring Morning, föreställer en elegant kvinna stående nära ett vattendrag, utförd med de fina linjer som är karakteristiska för etsningstekniken.
James Tissots etsning, Spring Morning, avbildar en elegant kvinna som står nära ett vattendrag. Scenen är utförd med fina linjer, karakteristiska för etsningstekniken. Kvinnan, klädd i en horisontellt randig klänning med volanger, håller ett parasoll och bär en hatt. Hennes blick är riktad åt vänster, vilket ger kompositionen en berättande känsla. Etsningens komposition balanserar figuren med den omgivande miljön. Vass och lövverk ramar in kvinnan, medan en byggnad syns i bakgrunden. Ljusets reflektion på vattnet tillför djup och textur till scenen. Tissots öga för detaljer är tydligt i återgivningen av kvinnans kläder och den omgivande vegetationen. Tissot, född i Frankrike, tillbringade en betydande del av sin karriär i England, där han fick erkännande för sina skildringar av samtida liv. Hans arbete fokuserade ofta på viktorianska tidens sociala seder och mode. Spring Morning speglar Tissots intresse för att fånga nyanserna i vardagen, genom att kombinera porträtt med element från naturen.
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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.
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Vårmorgon – James Tissot
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
James Tissot
Tissot's real name was Jacques Joseph. He adopted James at eleven, out of admiration for English culture, which turned out to be prescient: he spent the most productive decade of his career in London, painting the English upper classes with a precision they found both flattering and uncomfortable.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
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.
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Material av museikvalitet
Artistbiografi
James Tissot
Tissot's real name was Jacques Joseph. He adopted James at eleven, out of admiration for English culture, which turned out to be prescient: he spent the most productive decade of his career in London, painting the English upper classes with a precision they found both flattering and uncomfortable.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
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