THIS PRODUCT IS MADE-TO-ORDER
All sizes are approximate.
◆ Print / Tracked Delivery - 4-5 business days (Approx.)
This premium art print is made using a Giclée process using official UV (pigment based) inks. These UV inks contain enhanced light stabilisers; offering far more durability than dye-based inks which under proper care will keep your piece of art looking fantastic for 100+ years.
? MATT 200gsm - Fine Art Matt - is a fine art paper. A premium-quality heavyweight museum-quality paper with a smooth, clean finish.
? MATT 310gsm - Hahnemuhle German Etching - is a premium paper. A heavy-duty paper with a textured finish, the velvety matt surface is optimised for high-contrast prints.
? GLOSS 240gsm - Lustre Photo Paper -A premium photographic paper with a satin lustre finish. The lustre finish provides a subtle pearl-like texture. Supporting deeper colour saturation than matt papers, this paper produces impressive colour depth and strikingly intense blacks.
? GLOSS 260gsm - Hahnemuhle Photo Lustre -This specialist photo paper has a semi-gloss, velvet finish and guarantees long-lasting, fade-resistant prints. The paper has deeper colour saturation than matt paper, is thicker than traditional consumer papers and is more resistant to fingerprints and smudges.
This print comes with a 2mm White Mount - All mounts are 'conservation' grade, FSC certified, 100% acid free, and will not discolour or fade with age.
Our box frames are milled from solid ash, hand stained and finished with a specialist wax to accentuate the grain. Made-to-order by specialist picture framers. All framed prints are delivered fully strung, ready for hanging.
? Float Glass - is the industry standard for most sellers of framed prints.
? Acrylic Plexiglass - provides increased UV protection, is extremely robust and offers less glare than float glass.
? Tru Vue Glaze - provides the clearest possible glazing option. The glaze has very low reflective properties, appearing as though no glass is present in the picture.
All sizes are approximate.
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When necessary we digitally enhance the colours from the original, sometimes to restore them back to their former glory and other times to leave you with a print that pops with colour. Certain images will also be cropped and resized to fit their intended media. If you require your print to resemble the original as closely as possible then we would be more than happy to oblige. Contact our team via firstname.lastname@example.org who will provide you with sample images of the original before you place your order.
Manet summered at Gennevilliers in 1874, often spending time with Monet and Renoir across the Seine at Argenteuil, where?Boating was painted. Beyond adopting the lighter touch and palette of his younger Impressionist colleagues, Manet exploits the broad planes of color and strong diagonals of Japanese prints to give inimitable form to this scene of outdoor leisure. Rodolphe Leenhoff, the artist's brother-in-law, is thought to have posed for the sailor but the identity of the woman is uncertain.
Shown in the Salon of 1879,?Boating?was deemed "the last word in painting" by Mary Cassatt, who recommended the acquisition to the New York collectors Louisine and H.O. Havemeyer.
The Metropolitan Museum of Art
édouard Manet was born in Paris on 23 January 1832, in the ancestral hÔtel particulier (mansion) on the rue des Petits Augustins (now rue Bonaparte) to an affluent and well-connected family. His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince Charles Bernadotte, from whom the Swedish monarchs are descended. His father, Auguste Manet, was a French judge who expected édouard to pursue a career in law. His uncle, Edmond Fournier, encouraged him to pursue painting and took young Manet to the Louvre. In 1845, at the advice of his uncle, Manet enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and subsequent lifelong friend.
In 1856, Manet opened a studio. His style in this period was characterized by loose brush strokes, simplification of details and the suppression of transitional tones. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker (1858?59) and other contemporary subjects such as beggars, singers, Gypsies, people in cafés, and bullfights. After his early career, he rarely painted religious, mythological, or historical subjects - examples include his Christ Mocked, now in the Art Institute of Chicago, and Christ with Angels, in the Metropolitan Museum of Art, New York. Manet had two canvases accepted at the Salon in 1861. A portrait of his mother and father, who at the time was paralysed and robbed of speech by a stroke, was ill-received by critics. The other, The Spanish Singer, was admired by Theophile Gautier, and placed in a more conspicuous location as a result of its popularity with Salon-goers. Manet's work, which appeared "slightly slapdash" when compared with the meticulous style of so many other Salon paintings, intrigued some young artists. The Spanish Singer, painted in a "strange new fashion caused many painters' eyes to open and their jaws to drop.