Paul Signac:
Painting "Santa Maria della Salute" (1908)

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Limited, 990 copies | Numbered | Reproduction, giclée on canvas | Stretcher | Solid wood framing | Size 88 x 72 cm

http://www.arsmundi.com/

Paul Signac: Painting "Santa Maria della Salute" (1908)

This Painting of the Baroque "Santa Maria della Salute" was created after a trip to Venice in 1904. It demonstrates the effect of Pointillism executed in all strictness: countless tiny brushstrokes of unmixed colour mix beautifully together in a on one bright scene.

Original: Christie's Images Ltd.

The fine art giclée method of Offizin Dietz is one of the best methods currently available for the high-quality reproduction of artworks. Reproduced on artist canvas made from 100% cotton, which is stretched like the original. Limited edition 990 copies, numbered on the back. In high-quality solid wood framing. Size 88 x 72 cm.

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Paul Signac (1863-1935) has shaped his time not only as a painter but also as a theorist of neo-impressionism. A contact with Seurat in 1884 convinced him of the pointillist style of painting, which he henceforth scientifically and physiologically justified perception in his writings.

Giclée = derived from the French verb gicler meaning "to squirt, spray".

Giclée method is a digital printing process. It is a high-resolution, large-format printout on an inkjet printer with special different coloured or pigment-based inks (usually six to twelve). The colours are light-fast, that is, resistant to harmful UV light. They have a high richness of nuance, contrast and saturation.

The Giclée process is suitable for real art canvas, handmade and watercolor paper and for silk.

The style of Impressionism that emerged in French painting in 1870 owes its name to the Claude Monet's landscape 'Impression, Soleil Levant'. After initial refusal it began a true triumphant advance.

Such painters as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in a bright, natural light.

Impressionism can be seen as a reaction to the academic painting. The emphasis was not on content with its strict rules of painting structure, but on the object as it appears at any given moment, in an often random cut out. The reality was seen in its whole color variety in natural lighting. The studio painting was replaced by the open-air painting.

The brightening of the palette and the dissolution of firm contours was accompanied by a new way of handling with color. Often, the colors were no longer mixed on the palette but side by side on the canvas so that the final impression lies in the eye of the beholder with a certain distance. In "Pointillism", (with such painters as Georges Seurat or Paul Signac) this principle was carried to the extreme.

Outside France, Impressionism was taken up by such painters as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.

In sculpture, the impressionism expressed itself only conditionally. In the works of Auguste Rodin, who is considered one of the main representatives, you can see a resolution of the surfaces in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.

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