Night Art Print
Joan Miró
16 in. x 20 in.
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Circles in Circle Art Print
Wassily Kandinsky
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Digitally Printed on Archival Photographic Paper resulting in vivid, pure color and exceptional detail that is suitable for museum or gallery display.
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| “Cowboy Asleep in Beauty Salon” Saturday Evening Post Cover, May 6, 1961 |
| Kurt Ard |
| Giclee Print |
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This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée (French for “to spray”) is a printing process where millions of ink droplets are sprayed onto the paper’s surface. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. The high-quality paper (235 gsm) is acid free with a smooth surface.
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| Chorus Girl Singer Linda Lombard, Backstage Getting Ready For Show |
| George Silk |
| Photographic Print |
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This image from the archives of LIFE magazine first appeared on November 21, 1949.
From the archives of LIFE magazine, this image is digitally printed on archival photographic paper resulting in vivid, pure color and exceptional detail that is suitable for museum or gallery display.
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| Ultimate Origins #5 Cover: Captain America and Hulk |
| Gabriele DellOtto |
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Expressionism, Realism and Van Gogh
For expressionism is not simply a way of seeing things: it is also a way of making them, of painting them. An expressionist does not paint “flat” and in pure tones–he breaks up his tones and applies them with a liberal brush. It is striking indeed to find in Rembrandt, Hals, and the Van Gogh of the Nuenen period, the same concern for realism, the same sense of light and feeling for expressive detail, combined with a use of impasto that is no less expressive.
In short, even the most detached and idealistic Dutch painters bear the mark of their national cultural traditions. Vermeer, however abstract, came under the infleunce of Caravaggio, that is to say, of realism; and, in our own time, Mondrian’s abstractions represent an unusual aesthetic puritanism with a social bias. And Rembrandt’s light is the spiritual expression of an observed reality–or at least of such elements of that reality as may be observed.
But such realism, however frank (as in Frans Hals), is not so much concerned to respect the real, the physical aspect of things, as to express it. And while Van Gogh, as a Dutch painter, was certainly deeply attached to reality, his almost religious deference for it was not divorced from painterly considerations.
Hence that arbitrary lighting, that no less arbitrary, dramatic and often caricatural distortion–in short, that rugged, uncouth expressionism in which there is nevertheless a glimmer of the total lyrical expression that would later be his. So it is that this essentially lyric painter began by painting the plebeian reality of his time, just as–he must have imagined–Rembrandt and Hals painted the bourgeois reality of theirs. The Head of an Old Peasant Woman, painted at Nuenen, and the hands of the Potato-Eaters thus echo in their crude, awkward way the Portrait of Margaretha Trip and the hands of the Regentessen.
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