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.
Kullen - Man Ray
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
Målad 1913, "The Hill" av Man Ray är en tidig modernistisk oljemålning som föreställer en snötäckt sluttning med byggnader och kala träd, återgiven i en förenklad stil med expressivt penselarbete.
Man Ray, född Emmanuel Radnitzky i Philadelphia, var en betydande bidragsgivare till både dadaismen och surrealismen. Även om han är mest känd för sin avantgardistiska fotografi, producerade han också målningar, skulpturer, filmer och grafisk konst. Hans verk utmanade ofta konventionella konstnärliga gränser, genom att utforska teman som abstraktion, slump och det undermedvetna. "The Hill", målad 1913, visar Man Rays tidiga utforskning av modernistiska stilar. Målningen föreställer en snötäckt sluttning prickad med byggnader och kala träd. Paletten är återhållsam, dominerad av brunt, vitt och svart, med inslag av rött. Penselarbetet är löst och expressivt, vilket skapar en känsla av rörelse och atmosfär. Kompositionen är något förenklad, med former reducerade till sina väsentliga former. Målningen visar influenser från tidig modernism och antyder konstnärens senare omfamnande av abstraktion och experiment.
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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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Kullen - Man Ray
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Man Ray
Man Ray was born Emmanuel Radnitzky in Philadelphia and changed his name because it sounded better. The name change set the tone. He spent his career crossing boundaries: between painting and photography, between Dada and Surrealism, between Paris and New York, between art and fashion.
He moved to Paris in 1921 and stayed for twenty years. He arrived knowing Marcel Duchamp, who had been his closest collaborator in New York. The two of them shared an instinct for provocation. Man Ray's contribution to Dada was the 'rayograph', made by placing objects directly on photographic paper and exposing them to light. No camera, no lens. The results look like X-rays of the unconscious: keys, springs, hands, fabrics, rendered as white silhouettes on black.
He became the portrait photographer of the Parisian avant-garde. Picasso, Hemingway, Gertrude Stein, Jean Cocteau, the Surrealists. The portraits are sharp, well-lit, and respectful, which is not what you would expect from a Dadaist. He also worked in fashion photography for Vogue and Harper's Bazaar, which paid the bills and gave him access to models and studios.
The most famous image is Le Violon d'Ingres (1924): a photograph of Kiki de Montparnasse's back with f-holes painted on it, turning a woman into a cello. It is witty, elegant, and uncomfortable in exactly the way Surrealism intended. He claimed to value his paintings more than his photographs. The world disagreed, and he never entirely forgave it.
He returned to Paris after the war and stayed until his death in 1976, at eighty-six.
He moved to Paris in 1921 and stayed for twenty years. He arrived knowing Marcel Duchamp, who had been his closest collaborator in New York. The two of them shared an instinct for provocation. Man Ray's contribution to Dada was the 'rayograph', made by placing objects directly on photographic paper and exposing them to light. No camera, no lens. The results look like X-rays of the unconscious: keys, springs, hands, fabrics, rendered as white silhouettes on black.
He became the portrait photographer of the Parisian avant-garde. Picasso, Hemingway, Gertrude Stein, Jean Cocteau, the Surrealists. The portraits are sharp, well-lit, and respectful, which is not what you would expect from a Dadaist. He also worked in fashion photography for Vogue and Harper's Bazaar, which paid the bills and gave him access to models and studios.
The most famous image is Le Violon d'Ingres (1924): a photograph of Kiki de Montparnasse's back with f-holes painted on it, turning a woman into a cello. It is witty, elegant, and uncomfortable in exactly the way Surrealism intended. He claimed to value his paintings more than his photographs. The world disagreed, and he never entirely forgave it.
He returned to Paris after the war and stayed until his death in 1976, at eighty-six.
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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
Man Ray
Man Ray was born Emmanuel Radnitzky in Philadelphia and changed his name because it sounded better. The name change set the tone. He spent his career crossing boundaries: between painting and photography, between Dada and Surrealism, between Paris and New York, between art and fashion.
He moved to Paris in 1921 and stayed for twenty years. He arrived knowing Marcel Duchamp, who had been his closest collaborator in New York. The two of them shared an instinct for provocation. Man Ray's contribution to Dada was the 'rayograph', made by placing objects directly on photographic paper and exposing them to light. No camera, no lens. The results look like X-rays of the unconscious: keys, springs, hands, fabrics, rendered as white silhouettes on black.
He became the portrait photographer of the Parisian avant-garde. Picasso, Hemingway, Gertrude Stein, Jean Cocteau, the Surrealists. The portraits are sharp, well-lit, and respectful, which is not what you would expect from a Dadaist. He also worked in fashion photography for Vogue and Harper's Bazaar, which paid the bills and gave him access to models and studios.
The most famous image is Le Violon d'Ingres (1924): a photograph of Kiki de Montparnasse's back with f-holes painted on it, turning a woman into a cello. It is witty, elegant, and uncomfortable in exactly the way Surrealism intended. He claimed to value his paintings more than his photographs. The world disagreed, and he never entirely forgave it.
He returned to Paris after the war and stayed until his death in 1976, at eighty-six.
He moved to Paris in 1921 and stayed for twenty years. He arrived knowing Marcel Duchamp, who had been his closest collaborator in New York. The two of them shared an instinct for provocation. Man Ray's contribution to Dada was the 'rayograph', made by placing objects directly on photographic paper and exposing them to light. No camera, no lens. The results look like X-rays of the unconscious: keys, springs, hands, fabrics, rendered as white silhouettes on black.
He became the portrait photographer of the Parisian avant-garde. Picasso, Hemingway, Gertrude Stein, Jean Cocteau, the Surrealists. The portraits are sharp, well-lit, and respectful, which is not what you would expect from a Dadaist. He also worked in fashion photography for Vogue and Harper's Bazaar, which paid the bills and gave him access to models and studios.
The most famous image is Le Violon d'Ingres (1924): a photograph of Kiki de Montparnasse's back with f-holes painted on it, turning a woman into a cello. It is witty, elegant, and uncomfortable in exactly the way Surrealism intended. He claimed to value his paintings more than his photographs. The world disagreed, and he never entirely forgave it.
He returned to Paris after the war and stayed until his death in 1976, at eighty-six.
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