Terrasse De Meudon (1899)

Technique: Giclée quality print
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More about this artwork

Paul Signac's painting "Terrasse de Meudon," created in 1899, is a brilliant example of the pointillist technique, which the artist himself greatly advanced. This enchanting work captures a tranquil view from a terrace in Meudon, offering a panoramic outlook of a lush, impressionistic landscape scattered with vibrant, blooming flowers.In the foreground, Signac masterfully places two towering trees, framing the composition and drawing the viewer's eye towards the horizon. The trees are rich with green leaves, painted through countless meticulous dots that merge to create a lively canopy. Between these trees, we glimpse a beautifully detailed view of distant Paris, gently bathed in the subtle hues of a setting sun.The middle ground is filled with an explosion of color from flower beds, adding depth and texture to the scene. Each brushstroke works together to make not only the visual splendor of the garden but also an almost tactile atmosphere of a breezy, sunlit day. The vivid colors and dynamic forms convey the garden's vitality, almost buzzing with life, inviting viewers to step into this serene moment frozen in time."Terrasse de Meudon" is not just a visual feast; it's a technical marvel that showcases Signac's dedication to exploring the interplay of light and color through distinct, individual points of paint.

Delivery

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Returns

Yes, reproductions can be returned.

If you have any doubts more than 30 days after the date of purchase, please contact us - we will take the reproduction back for a refund or offer you a replacement!

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We do not refund shipping expenses.

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.