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.
William Merritt Chase - John Singer Sargent
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
Ett porträtt av William Merritt Chase av John Singer Sargent, målat 1902. Verket föreställer Chase hållande en pensel och palett, med Sargents karaktäristiska lösa penseldrag och dramatiska ljusanvändning.
Detta porträtt av John Singer Sargent (1856-1925) föreställer den amerikanske impressionistmålaren William Merritt Chase (1849-1916). Målad 1902, fångar verket Chase i en karakteristisk pose, hållande en pensel i vänster hand och en palett i höger. Kompositionen domineras av mörka toner, med Chases figur som framträder ur en skuggig bakgrund. Sargents hantering av ljus är särskilt tydlig i hur det lyser upp Chases ansikte och händer, vilket drar betraktarens uppmärksamhet till hans uttrycksfulla drag och hans yrkesverktyg. De lösa, måleriska penseldragen är typiska för Sargents stil, som blandar element av impressionism med en mer akademisk inställning till porträttmåleri. Porträttet ger en inblick i de konstnärliga kretsarna under slutet av 1800-talet och början av 1900-talet, och fångar likheten hos en framstående konstnär av en annan. Målningen är signerad och daterad 'John S. Sargent 1902' i övre högra hörnet. Den ger insikt i relationen mellan de två konstnärerna och den konstnärliga miljö de verkade i.
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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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William Merritt Chase - John Singer Sargent
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
John Singer Sargent
Sargent was the best portrait painter of his generation and spent most of his career wishing he were not. He called portraits 'a pimp's profession' and repeatedly tried to stop accepting commissions. The money kept pulling him back.
He was born in Florence to American expatriate parents and grew up moving between European cities. He never lived in America until he was middle-aged. He studied under Carolus-Duran in Paris, who taught him to paint directly from observation without underdrawing: load the brush, find the right tone, put it down in one stroke. The method required extraordinary hand-eye coordination and supreme confidence. Sargent had both.
Madame X, painted in 1884, nearly ended his career. The portrait of Virginie Amelie Avegno Gautreau, an American socialite in Parisian society, showed her in a black dress with one shoulder strap hanging off. The Salon audience was scandalised. Sargent repainted the strap in its proper position but the damage was done. He left Paris for London and rebuilt.
In London he became the portraitist of choice for the Anglo-American upper class. The technique is astonishing: he painted quickly, in long single-session sittings, and the brushwork has a fluency that makes other portraitists look laborious. The Wyndham Sisters, Lady Agnew of Lochnaw, and the portrait of Theodore Roosevelt show what he could do at full stretch.
He eventually did stop. After 1907 he largely abandoned portraits for watercolours and the murals at the Boston Public Library and the Museum of Fine Arts. The watercolours, painted on travels through Italy, Spain, and the Middle East, are looser and freer than the portraits and possibly better. He died in London in 1925, at sixty-nine.
He was born in Florence to American expatriate parents and grew up moving between European cities. He never lived in America until he was middle-aged. He studied under Carolus-Duran in Paris, who taught him to paint directly from observation without underdrawing: load the brush, find the right tone, put it down in one stroke. The method required extraordinary hand-eye coordination and supreme confidence. Sargent had both.
Madame X, painted in 1884, nearly ended his career. The portrait of Virginie Amelie Avegno Gautreau, an American socialite in Parisian society, showed her in a black dress with one shoulder strap hanging off. The Salon audience was scandalised. Sargent repainted the strap in its proper position but the damage was done. He left Paris for London and rebuilt.
In London he became the portraitist of choice for the Anglo-American upper class. The technique is astonishing: he painted quickly, in long single-session sittings, and the brushwork has a fluency that makes other portraitists look laborious. The Wyndham Sisters, Lady Agnew of Lochnaw, and the portrait of Theodore Roosevelt show what he could do at full stretch.
He eventually did stop. After 1907 he largely abandoned portraits for watercolours and the murals at the Boston Public Library and the Museum of Fine Arts. The watercolours, painted on travels through Italy, Spain, and the Middle East, are looser and freer than the portraits and possibly better. He died in London in 1925, at sixty-nine.
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
John Singer Sargent
Sargent was the best portrait painter of his generation and spent most of his career wishing he were not. He called portraits 'a pimp's profession' and repeatedly tried to stop accepting commissions. The money kept pulling him back.
He was born in Florence to American expatriate parents and grew up moving between European cities. He never lived in America until he was middle-aged. He studied under Carolus-Duran in Paris, who taught him to paint directly from observation without underdrawing: load the brush, find the right tone, put it down in one stroke. The method required extraordinary hand-eye coordination and supreme confidence. Sargent had both.
Madame X, painted in 1884, nearly ended his career. The portrait of Virginie Amelie Avegno Gautreau, an American socialite in Parisian society, showed her in a black dress with one shoulder strap hanging off. The Salon audience was scandalised. Sargent repainted the strap in its proper position but the damage was done. He left Paris for London and rebuilt.
In London he became the portraitist of choice for the Anglo-American upper class. The technique is astonishing: he painted quickly, in long single-session sittings, and the brushwork has a fluency that makes other portraitists look laborious. The Wyndham Sisters, Lady Agnew of Lochnaw, and the portrait of Theodore Roosevelt show what he could do at full stretch.
He eventually did stop. After 1907 he largely abandoned portraits for watercolours and the murals at the Boston Public Library and the Museum of Fine Arts. The watercolours, painted on travels through Italy, Spain, and the Middle East, are looser and freer than the portraits and possibly better. He died in London in 1925, at sixty-nine.
He was born in Florence to American expatriate parents and grew up moving between European cities. He never lived in America until he was middle-aged. He studied under Carolus-Duran in Paris, who taught him to paint directly from observation without underdrawing: load the brush, find the right tone, put it down in one stroke. The method required extraordinary hand-eye coordination and supreme confidence. Sargent had both.
Madame X, painted in 1884, nearly ended his career. The portrait of Virginie Amelie Avegno Gautreau, an American socialite in Parisian society, showed her in a black dress with one shoulder strap hanging off. The Salon audience was scandalised. Sargent repainted the strap in its proper position but the damage was done. He left Paris for London and rebuilt.
In London he became the portraitist of choice for the Anglo-American upper class. The technique is astonishing: he painted quickly, in long single-session sittings, and the brushwork has a fluency that makes other portraitists look laborious. The Wyndham Sisters, Lady Agnew of Lochnaw, and the portrait of Theodore Roosevelt show what he could do at full stretch.
He eventually did stop. After 1907 he largely abandoned portraits for watercolours and the murals at the Boston Public Library and the Museum of Fine Arts. The watercolours, painted on travels through Italy, Spain, and the Middle East, are looser and freer than the portraits and possibly better. He died in London in 1925, at sixty-nine.
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