"Fine-Arts" prints on paper
It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Glossy finish
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
Our high end prints and reproductions
ArtMajeur only uses natural papers with neutral pH, resistant, and of high quality, selected from renowned papermakers!
Constant attention is paid by our master printer, whether in terms of color control or respect for the graphic chain. Our high level of quality requirement is a major asset of ArtMajeur framed art prints.
For Artists! You help artists to live from their work. They receive royalties everytime you buy their prints.
About our fine prints-
Original Artwork
Painting,
Oil
on Canvas
- Dimensions Height 47.2in, Width 74.8in
- Framing This artwork is not framed
- Categories Classicism Everyday Life
Le paysage est un paradis idyllique, avec des couleurs douces et un éclairage qui crée une atmosphère de rêve. Les couples se rassemblent près d'une statue de Vénus avant leur voyage par bateau, certains déjà à bord, d'autres encore en pleine cour. Les personnages semblent engagés dans des flirts et des adieux, certains échangeant des regards languissants ou des gestes tendres, tandis que d'autres se préparent à embarquer.
Des putti, ou petits anges, flottent dans l'air, ajoutant un élément de fantaisie et renforçant le thème de l'amour divin et profane. La lumière diffuse et la composition fluide du tableau donnent une impression de mouvement et de spontanéité, malgré l'élaboration évidente et le soin méticuleux de la scène.
Related themes
Watteau's life is not well known, but his art is very important ( baptised October 10, 1684 – died July 18, 1721). At the beginning of the 18th century, he set new standards for French painting. One can talk about how he was born into a poor family in a small town in Flanders, which was then ruled by the French. He got his first training from a little-known local painter and moved to Paris around 1702. There, Claude Gillot and Claude III Audran, two of his teachers, helped him develop his skills in different ways. Through Gillot, he learned how the theater could help him visualize things and how this could lead to the idea of an ambiguous reality. He learned the art of the arabesque from Audran. The arabesque's mix of ornamental and figural shapes had a big impact on his own style. As Concierge of the Palais du Luxembourg, Audran gave Watteau access to Rubens's Medici Gallery. This was important because it helped Watteau study the Flemish painter and other old masters in the years to come. Watteau's career spanned the last years of Louis XIV's rule and the start of the Regency. These were times when the rules set by the court and the Academy were becoming less strict and when changes in society made it possible for new ideas about art to emerge. Watteau created a new style of painting called "Fête galante" because of this, and the Academy's increasing openness helped him do it. In 1717, he was finally accepted into the Academy (second Rome Prize 1709, admission as a candidate 1712). He was a very sensitive and weak man, both mentally and physically. He confused his peers and helped define the modern artist as an outsider and an innovator. Watteau spent his last years with friends like the painter N. Vleughels and the art dealer Gersaint, for whom he made the now-famous shop sign (Charlottenburg Palace) in 1720. He avoided the public and moved around a lot during those years. Watteau went to London in 1719 and 1720 to try to get better from a serious illness (possibly tuberculosis). There, he met Dr. Mead, who helped his art become very popular in England right away. Almost all of the important biographies of Watteau (by Jean de Jullienne in 1726, Gersaint in 1744, Dezallier d'Argenville in 1745, and Comte de Calus in 1748) talk about how unique and good his drawings are. Watteau's favorite medium was either red chalk or a mix of red, black, and white chalk, which some colorists at the Academy, like La Fosse and Coypel, were already using at the end of the 17th century.
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Nationality:
FRANCE
- Date of birth : unknown date
- Artistic domains: Represented by a Gallery,
- Groups: Contemporary French Artists Artists presented by a gallery
