Description:
Empty chairs had a very personal significance for Van Gogh, who appears to have associated objects strongly with people. Legend has it that the young Van Gogh cried out at the signt of an empty chair vacated earlier by his father who had been visiting him at the Hague. This image of his own empty chair resounds with a similiarly plaintive call.
Gaugin's arrival in Arles a few months earlier had heralded an initial period of calm and joy in both men's lives. However, tensions soon surfaced. More at home in the city, Gaugin found Arles rather dull and ordinary. Furthermore, Van Gogh wanted more companionship than Gaugin could realistically offer and, as a consequence, he became worried that his friend would leave the Yellow House. This eventuality was made more likely by Van Gogh's notiorious temperment. His violent mood swings and Gauguin's rampant egoism meant clashes became inevitable. Added to this heady brew, they also began to disagree about art. Van Gogh expressed his fears about the possibility of Gauguin's imminent departure in two famous paintings, of which this is one. The steep perspecctive of this painting throws us violently into the picture, creating a disorienting dynamic. The other painting, featuring Gauguin's chair, is equally fraught with tension.
You are viewing a Serigraph print. Fine artists create serigraphs in limited runs by applying layer upon layer of pigment to the print surface by pressing it through a mesh screen containing a stencil. The complex and lenghty process commonly uses inks for pigment and stencils made of a variety of materials. Because of the nature of the process each serigrph is unique.
You are viewing a giclee print. Each piece was created by a special process called "Giclee". Giclee is a computer generated print that is produced by the spraying of an image on to fine art paper. The inks used are specially formulated so that the fine print heads can spurt jets of ink in minute droplets. When prints are produced on fine art quality paper, the print should posses archival standards of permanence comparable or better than other collectible work.
You are viewing a hand colored print. The process begins with hand-pulled black & white decorative and antique reproduction prints. Each print is then individually designed and hand colored using the same methods of color application that were used throughout the 19th century, before modern color lithography. Individual artists meticulously paint each piece using the finest European watercolor paints on heavy mat, acid free, archival paper resistant to deterioration and discoloration. By combining old world craftsmanship with fresh design innovations, our artists create works of stunning depth and vibrancy that are absolutely beautiful and unique.
You are viewing a museum quality fine-art print. The prints we carry are produced using either the lithographic or serigraphic printing process and are printed on high quality archival acid free paper. Most prints are on a thick (120 pound or higher) stock of paper. Each print is of the highest museum art print reproduction quality and are supplied by the world's leading art publishers. These prints rival any detailed reproduction from their originals and are geared towards the discerning eye of the particular art collector.
Limited editions are a series of identical prints, which are limited to a one-time printing of a certain number of pieces. The artist determines the size of the edition, and usually signs and numbers each individual piece. Limited edition prints framed by the Fulcrum Gallery are handled separately and given the utmost individual care and attention, using archival framing materials and practices. Because limited editions are in limited supply, and are of exceptionally high quality, the price is generally at a premium to regular open edition prints.
