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Concarneau (Étude) (1891) reproduction of painting by Paul Signac. ALL GICLEE PRINTS
Concarneau (Étude) (1891) reproduction of painting by Paul Signac. ALL GICLEE PRINTS

Concarneau (Étude) (1891)

Paul Signac
Technique: Giclée quality print
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Discover the vibrant hues and dynamic composition of Paul Signac's 1891 masterpiece, "Concarneau (Étude)." In this painting, Signac captures a serene yet lively harbor scene at Concarneau, a charming fishing village in Brittany, France. Using his trademark pointillist style, Signac constructs the image with small, distinct dots of color, which blend and vibrate uniquely when viewed from a distance.The painting is divided beautifully by the horizon, above which, a magnificent sunset sky in shades of yellow, pink, and blue dominates, reflecting its colors onto the tranquil water below. Below this luminous sky, the calm sea hosts several boats, including a prominently featured dark sailing boat with its sails down, peopled by figures in silhouette, which adds a sense of narrative and daily activity to the scene.The reflections in the water are masterfully rendered with a tapestry of blues, greens, and yellows, creating a mirroring effect that doubles the impact of the brilliant sky and enhances the overall atmospheric quality of the painting."Concarneau (Étude)" is more than a picturesque view; it is a vivid exploration of color, light, and reflection, showcasing Signac’s deep understanding of the interplay between nature and art.

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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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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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