Max Slevogt:
Painting "Blooming Lilac" (ca. 1921) in a gallery frame


Max Slevogt:
Painting "Blooming Lilac" (ca. 1921) in a gallery frame

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ars mundi exclusive edition | Limited, 499 exemplars | Serially numbered certificate | Reproduction, giclée on canvas | Stretcher frame | In a gallery frame | Format: 69 x 57 cm

Max Slevogt: Painting "Blooming Lilac" (ca. 1921) in a gallery frame

Nature, plein-air painting, this is what the three best-known German impressionists Lovis Corinth, Max Liebermann and Max Slevogt, have in common. As driving forces of the Berlin Secession, they revolutionized art during the imperial period. Slevogt took in 1917 the leadership of a painting workshop of the Arts Academy. Besides his decors, he dedicated himself especially to landscape paintings.
Original: Oil on canvas Städel Museum, Frankfurt am Main.

Brilliant, authentic reproduction in fine art giclée technique directly on art canvas of 100% cotton, stretched on a stretcher frame. In hand-made, whitewashed gallery frame. Limited edition of 499 exemplars, Serially numbered backside certificate. Format: 69 x 57 cm. Exclusively at ars mundi.

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Graphic or sculpture edition that was initiated by ars mundi and is available only at ars mundi or at distribution partner licensed by ars mundi.

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.