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The Square Saint-Pierre (1883-1884) reproduction of painting by Paul Signac. ALL GICLEE PRINTS

The Square Saint-Pierre (1883-1884)

Paul Signac
Technique: Giclée quality print
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Explore the vibrant, sunlit landscape of "The Square Saint-Pierre," a captivating painting by French Neo-Impressionist artist Paul Signac. Created between 1883 and 1884, this artwork invites viewers into a picturesque scene set in the heart of Montmartre, Paris.The painting depicts the bustling Square Saint-Pierre, a popular gathering spot that is alive with the everyday activities of its visitors. Signac's brush captures the lush greenery of the park, under which locals can be seen enjoying a leisurely afternoon. The scene is framed by bold, leafless trees and a sloping hill, atop which the early stages of Sacré-Cœur Basilica's construction are visible, marking a historical moment in Parisian architecture.Signac's use of light and shadow, combined with his distinct brush strokes, brilliantly conveys the texture of the grass and the dynamic skyline of Montmartre. The earthy and cool tones merge to form a harmonious composition that reflects the tranquility and beauty of this urban oasis.This painting not only showcases Signac's skill and sensitivity as a painter but also serves as a window into the daily life and evolving landscape of 19th-century Paris.

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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 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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