Saint-Tropez La jetée

Technique: Giclée quality print
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More about this artwork

Immerse yourself in the serene beauty of "Saint-Tropez La jetée," a captivating painting by the renowned French artist Paul Signac. Dated 1926, this work of art is a prime example of Signac’s mastery in capturing the essence of seascapes through his unique style.In this painting, the viewer is transported to the bustling yet picturesque jetty of Saint-Tropez. The artwork features a grounded boat, its curved form lying gracefully on the sand, possibly awaiting the next voyage. Clear blue and gentle turquoise waters border the jetty, reflecting the light and dancing in harmony with subtle shifts in the breeze. Two figures, somewhat abstractly rendered, appear engaged in activities at the jetty, perhaps securing boats or merely enjoying the coastal ambiance.Signac’s use of vibrant color and dynamic, sketch-like outlines imbues the scene with life and movement. The sky, a canvas of golden and soft blue hues, suggests a time of day when the sun is about to set, casting a warm glow that enhances the tranquil mood of the seaside setting."Saint-Tropez La jetée" is not merely a depiction of a geographical location but a vivid expression of maritime vitality and the peaceful allure of the French Riviera. This painting invites the viewer to delve into its depth, appreciating the interplay of colors and forms that define Paul Signac’s contribution to the world of art.

Delivery

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You can also pick up your paintings at our galleries in Kaunas or Vilnius.

Returns

Yes, reproductions can be returned.

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Please note that we accept a maximum of two returns per customer. Since reproductions are made to order, we encourage you to choose responsibly.

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Paul Signac (1863-1935) was a French Neo-Impressionist painter. Together with Georges Seurat, Signac developed the Pointillism style. He was a passionate sailor, bringing back watercolor sketches of ports and nature from his travels, then turning them into large studio canvases with mosaic-like squares of color. He abandoned the short brushstrokes and intuitive dabs of color of the impressionists for a more exact scientific approach to applying dots with the intention to combine and blend not on the canvas, but in the viewer's eye.