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Port-En-Bessin (1882) reproduction of painting by Paul Signac. ALL GICLEE PRINTS

Port-En-Bessin (1882)

Paul Signac
Technique: Giclée quality print
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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.

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We create reproductions on demand, with a production time of 5 to 7 business days.

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If you need a faster turnaround, please contact us. We can often expedite the process to meet your needs.

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

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Yes, reproductions can be returned.

If you have any concerns more than 30 days after purchase, please contact us. We will either provide a refund or offer a replacement!

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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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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