Port-En-Bessin (1882)

Technique: Giclée quality print
Recommended by our customers
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More about this artwork

We invite you to explore "Port-En-Bessin," a captivating painting from 1882 by the acclaimed French artist Paul Signac. This work, painted early in Signac's career before he co-founded the Neo-Impressionist movement, showcases a vibrant interpretation of the Normandy coast.The painting captures the dynamic essence of the sea with its frothy, churning waves, rendered in stirring brush strokes that convey the raw power and ceaseless motion of the ocean. In the background, the cliffs of Port-En-Bessin rise majestically, depicted with an earthy palette of greens, ochres, and blues that subtly change under the ample light of the sky. The sky itself, a pale wash of blue and white, extends a sense of calm over the scene, contrasting with the vigorous activity of the sea below.Signac's skill in manipulating colors and light to depict the atmosphere of the seaside is evident. His application of paint varies throughout the composition, adding texture and depth to this picturesque portrayal of natural beauty."Port-En-Bessin" is not just a geographical depiction but also a poetic representation of the harmony between land and sea.

Delivery

Reproductions are made to order and take 5 to 7 working days.

We send them out by courier and delivery takes another two working days.

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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.

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!

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

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.