Description:
Van Gogh reveled in the textural richness of oil paint. Called 'Impasto,' his application of the paint is so heavy in 'The Mulberry Tree in Autumn' that it appears nearly three-dimensional. We cannot discern individual autumn leaves, for the tree limbs are like twisting yellow tentacles. The fiery branches reach upward and are framed by a brilliant blue sky created from thick, short strokes of blue paint. The space surrounding the tree is rendered with a dynamism that echoes the tree's electric energy. Short, thick brush strokes of lighter yellow, with intermittent strokes of green, light brown, and white constitute the rocky field described in van Gogh's letter. There is no human presence here, but the box which leans against the brown tree trunk suggests that the land has been or will be worked and harvested. In this work, an ordinary tree is painted in an extraordinary way. While it attests to van Gogh's keen observation of the tree and its natural surroundings, this painting is no mere record of sheer visual observation. Rather, van Gogh's vibrant color and vigorous brush strokes express his passionate feelings about what he saw. This painting was so important to van Gogh that he wrote about it three times in letters to his brother and sister, commenting that he believed it was the best of his mulberry tree paintings.
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.
