Paula Modersohn-Becker:
Painting "Sitting Girl with Sheep at the Pond I" (1903) in studio frame

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Paula Modersohn-Becker:
Painting "Sitting Girl with Sheep at the Pond I" (1903) in studio frame

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Ars Mundi Exclusive Edition | Limited 499 copies | Certificate | Reproduction, giclée on canvas | Stretcher | Studio Framing | Size 73 x 57 cm

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Paula Modersohn-Becker: Painting "Sitting Girl with Sheep at the Pond I" (1903) in studio frame

Original: oil on cardboard and plywood, Bohm collection, Berlin. For a brilliant, authentic reproduction, the original artwork was transferred using a Fine Art giclée technique directly on artist canvas made from 100% cotton and stretched. Limited edition 499 copies, with certificate. Framed in handcrafted solid wood studio framing. Size 73 x 57 cm. Exclusive to Ars Mundi.

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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.

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.

Representation of typical scenes of daily life in painting, which can distinguish between peasant, bourgeois and courtly themes.

The genre reached its peak and immense popularity in the Dutch painting of the 17th century. In the 18th century, especially in France, the courtly and gallant painting comes to the fore while in Germany the bourgeois character was emphasised.

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.