Paula Modersohn-Becker:
Painting "Still Life with Fishbowl" (1906), Framed


Paula Modersohn-Becker:
Painting "Still Life with Fishbowl" (1906), Framed

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Limited, 500 copies | Reproduction on cardboard | Framed | Mat | Glazed | Format 70,5 x 94 cm (H/W)

Paula Modersohn-Becker: Painting "Still Life with Fishbowl" (1906), Framed

Original: 1906, oil on cardboard, 50.5 x 74 cm, Von der Heydt Museum, Wuppertal.

Detailed art reproduction in a gridless, frequency-modulated process on art paper. Limited world edition 500 copies. © Von der Heydt Museum, Wuppertal © 2007 DACO-VERLAG, Stuttgart. Framed in solid wood with passe-partout, glazed dust-proof. Format 70.5 x 94 cm (H/W).

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Paula Modersohn-Becker (1876-1907) recognized as a pioneer of modernism, which artistically anticipated much, after her death. The painter proven constantly developing new ways to add colour, form and surface to contexts and to increase the expression of their images.

Around the century created in addition to numerous portraits times impressionistic, reminiscent of times expressionistic studies of the Moor - and birch landscape, who recognize their preference for a severely reduced composition and her departure from the depth minimalism of illusion.

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.