George Caleb Bingham, 1845 - marchands de fourrures descendant le Missouri - tirage d'art

"Fur Traders Descending the Missouri" is an artwork by the painter George Caleb Bingham in 1845. La création originale a la taille suivante: 29 x 36 1/2 pouces (73,7 x 92,7 cm) and was painted with the medium oil on canvas. Today, the artwork can be viewed in in the Le Metropolitan Museum of Art's collection d'art numérique. Avec l'aimable autorisation de - Le Metropolitan Museum of Art, New York, Morris K. Jesup Fund, 1933 (domaine public). En outre, l'œuvre d'art a la ligne de crédit: Fonds Morris K. Jesup, 1933. De plus, l'alignement de la reproduction numérique est en paysage le format et a un ratio de 1.2: 1, ce qui signifie que la longueur est 20% plus longue que la largeur. George Caleb Bingham was a male politician, painter, university teacher from United States, whose artistic style can be classified as Romanticism. The American artist was born in the year 1811 in Augusta county, Virginia, United States, county and passed away at the age of 68 in the year 1879 in Kansas City, Jackson county, Missouri, United States.

Choisissez une option de matériau d'article

For every fine art print we offer a range of different sizes & materials. Select your preferred size and material among the options:

• Impression d'affiche (matériau en toile): The poster is a UV printed sheet of canvas paper with a nice finish on the surface. It is suited for placing the fine art print in a custom-made frame. Please keep in mind, that depending on the absolute size of the poster we add a white margin of something between 2 - 6cm round about the print motif, which facilitates the framing with your custom frame.
• Toile: A canvas print is a printed cotton canvas stretched on a wooden frame. The great advantage of canvas prints is that they are relatively low in weight, meaning that it is easy and straightforward to hang up the Canvas print without extra wall-mounts. Hence, canvas prints are suited for all kinds of walls.
• Impression métallique (aluminium dibond): Aluminium Dibond prints are metal prints with a true depth. For our Aluminium Dibond print, we print your selected artwork onto the aluminium composite surface. The colors of the print are bright and vivid, details are crisp, and you can perceive a matte appearance of the print.
• Impression sur verre acrylique: The print on acrylic glass, which is often referenced as a plexiglass print, will change your favorite original artwork into brilliant décor. With an acrylic glass art print contrasts plus small color details become more identifiable with the help of the granular tonal gradation in the picture.

Note légale importante: We try to describe our art products as accurate as possible and to demonstrate them visually in our shop. However, some pigments of the print materials, as well as the printing might differ marginally from the image on the screen. Depending on the screen settings and the condition of the surface, not all color pigments are printed 100% realistically. In view of the fact that our are printed and processed by hand, there may also be slight differences in the exact position and the size of the motif.

Détails de l'article

Données de base sur l'œuvre d'art unique

Table d'artiste

© Copyright protégé - www.artprinta.com (Artprinta)

Original information about the work of art from The Metropolitan Museum of Art website (© Copyright - The Metropolitan Museum of Art - Le Metropolitan Museum of Art)

On June 4, 1845, Bingham returned from a winter stay in central Missouri to St. Louis, bringing with him several paintings and many sketches. This apparently was one of the pictures that he brought with him, and he sent it later that year for sale to the American Art-Union. It was first called "French Trader & Half breed Son," but the Art-Union gave it the title by which it is now known. Bingham, whose earliest efforts were portraits, produced a masterpiece of genre painting with little precedent in his oeuvre. The strikingly spare, geometric composition and luminist light recall the paintings of William Sidney Mount, particularly his "Eel Spearing at Setauket" (New York State Historical Association, Cooperstown). The solemn, motionless scene immortalizes the vanished world of the American frontier, constructed for a northeastern audience. The tranquil work was submitted to the Art-Union as a possible companion to the more implicitly violent "The Concealed Enemy" (Stark Museum of Art, Orange, Texas), in which an armed Osage warrior lies in wait behind a boulder. The polar opposition of quietude, savagery, and frontier danger embodied in the paintings held enormous appeal for urban viewers. Bingham painted a similar, though less extraordinary, picture called "The Trapper's Return" (Detroit Institute of Arts) in New York in 1851.