Femmes Au Puits

This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The
standard for museums and galleries around the world, giclée is a printing process where millions of
ink droplets are “sprayed” onto high-quality paper. With the great degree of detail and smooth
transitions of color gradients, giclée prints appear much more realistic than other reproduction prints.
The high-quality paper (235 gsm) is acid free with a smooth surface.

This, the last of Van Gogh's self-portraits and one of the greatest, was painted only months before
his death.

The compulsive, restless allover ornament of the background, recalling the work of mental patients, is
for some physicians an evidence that the painting was done in a psychotic state. But the self-image of
the painter shows a masterly control and power of observation, a mind perfectly capable of integrating
the elements of its chosen activity.
Self Portrait, 1889 is both more confident and more aggressive. It is a surly, almost rude and choleric
face - as if the sitter had had enough of examining his features for signs of madness. There are deep
creases by the nose and cheekbones, the eyebrows are thick and prominent, the corners of the mouth
have turned down: it is the face of a man with no more time for friendliness. The snaking and swirling
lines that denote the background are used for the person and clothing of the artist, too, and the restless
rejection of harmony and tranquillity to which these lines attest sets the keynote of the subject's facial
features: the need to deform and remake has created a new disorder in his physiognomy. The face is not
so much meant to be coarse or angry as full of vitality, of the sense of the moment. Painter and sitter
being one and the same person, there is (as it were) no need for the model to keep still. The picture is
not a pretty pose nor a realistic record; rather, the face van Gogh is here setting down on canvas is one
that has seen too much jeopardy, too much turmoil, to be able to keep its agitation and trembling under
control. It is not, in fact, an unfriendly face. This portrait articulates vitality. And the approach is plainly
incapable of idealistic posing.

A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île

de la Grande Jatte) painted in 1884, is Georges Seurat's most famous work.[1] It is a leading

example of pointillist technique, executed on a large canvas. Seurat's composition includes a

number of Parisians at a park on the banks of the River Seine.

A Sunday Afternoon on the Island of La Grande Jatte is both the best-known and
largest painting Georges Seurat ever created on a canvas. It depicts people relaxing in
a suburban park on an island in the Seine River called La Grande Jatte, a popular
retreat for the middle and upper class of Paris in the 19th century.

A Sunday Afternoon on the Island of La Grande Jatte is one of those rare

cases where a single artwork is able to stand out completely – its transcendence, both
narratively and technically, is instinctively recognized by everyone.

What makes this painting even more unique and mysterious is that the theme of the
work is not some profound emotion or momentous event, but the banalest of workaday
scenes.

Executed on a large canvas painted in 1884, A Sunday Afternoon on the Island of La

Grande Jatte reveals everything magical about Seurat’s world – it’s beautiful and
disturbing, sunlit and shadowed, silent and noisy, all at the same time. The painting’s
dimensions are approximately 2 by 3 meters (7 by 10 feet), representing a truly huge
size for pieces painted during this period.