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Les Andelys. Matin. Été (1923) reproduction of painting by Paul Signac. ALL GICLEE PRINTS
Les Andelys. Matin. Été (1923) reproduction of painting by Paul Signac. ALL GICLEE PRINTS

Les Andelys. Matin. Été (1923)

Paul Signac
Technique: Giclée quality print
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Step into a vibrant summer morning as captured in Paul Signac's enchanting 1923 masterpiece, "Les Andelys. Matin. Été." This exquisite work portrays a serene view of the French town of Les Andelys, nestled along the banks of the River Seine. Signac, a master of Neo-Impressionism and a devotee of the pointillist technique, employs small, distinct dots of color to create a luminous, shimmering effect that richly conveys the warmth and light of a summer morning.The painting is dominated by a large, verdant tree on the left, its foliage painted with a mosaic of greens and blues that mirror onto the calm waters below. To the right, the ancient Château Gaillard, a fortress built by Richard the Lionheart, looms majestically atop a hill, overseeing the town. Its historic presence contrasts beautifully with the tranquil and domestic scene below, where small houses with colorful facades reflect quietly in the river."Les Andelys. Matin. Été" is a testament to Signac's fascination with color and his ability to capture the essence of a moment. The painting invites viewers to pause and appreciate the peacefulness of a summer day, the beauty of reflection, and the harmonious blend of nature and architecture.

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If you don't want to pay for postage, you can pick up your paintings at our galleries in Kaunas or Vilnius.

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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!

We accept a maximum of two returns per customer - please note that we make reproductions to order, so please choose responsibly.

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Artist
Paul Signac
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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.

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