Description:
With a paucity of potential models during this period, Van Gogh increasingly turned to the landscape for his subject matter. However, when a model was found that did appeal to him, he jumped at the chance of immortalizing them in oils. Originally he met, or discovered, the postman Joseph-Etienne Roulin at the Cafe de la Gare in Arles, where he was renting a room. Roulin's easy-going demeanor, Republican convictions (like those of Pere Tanguy), and lifestyle of heavy drinking (like the artist Monticelli in Paris) all appealed to Van Gogh. Furthermore, he also came to consider Roulin as something of a father figure, whose wisdom he compared to that of Socrates. Van Gogh painted him many times ut in all his portraits, whether only of his head or featuring the whole man, his profession remains clear; Roulin may have had the mind of a philosopher, but his blue uniform with yellow buttons always showed his actual vocation to be somewhat less elevated.
This portrait was painted after Van Gogh was allowed out of hospital and may well have been executed as a token of friendship between the two men: Roulin stood loyally by when others began to regard Van Gogh as a dangerous menace. This painting differs from the other portraits of the postman mainly in its densely decorated background. Van Gogh's desire to fill the whole canvas with an overall design style can also be seen in works such as Portrait of Dr Rey (1889).
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.
