This art print displays sharp, vivid images with a high degree of color accuracy. A member of the versatile family of art prints, this high-quality reproduction represents the best of both worlds: quality and affordability. Art prints are created on paper similar to that of a postcard or greeting card using a digital or offset lithography press.
Laurie Maitland Biography
Laurie Maitland was born in Portsmouth, United Kingdom in 1969. Laurie spent the first years of his childhood in the Cotswolds before moving to London. She excelled in the arts and mathematics at school and her career has taken her in teaching after specializing in design located in her English and drama degree from the University of Kingston.
Having always painted for pleasure, Laurie made his first professional exhibition in the summer of 1996 at the exhibition of outdoor art Bournemouth. After the success of this, Laurie began selling his work through various galleries across the country, the Covent Garden Market and Craft by its own enterprises, who went to include owning and managing three art galleries a business design furnishings and art publishing company. Due to the growing success of his own best-selling artist, Laurie sold his business interests to concentrate on painting full time.
Distributed throughout the world, the work of Laurie became very popular. Shows such as the Affordable Art Fair London Art Fair and were often sell outs and fingerprints have been a bestseller for Canadian art prints, distributing images of Laurie in the world. Laurie prints are especially popular in North America.
Laurie now lives in Devon, United Kingdom and is working on her first novel as well as painting and working on new designs. Laurie love of nature and concern for the interior design influences on his work, with his most sold emulate the colors of the seasons: autumn leaves, winter and neutral tones of sand.
Hailed by the art industry as an innovator, and often copied designs Laurie have evolved to be constantly one step ahead of his contemporaries. His recent work is mixed floral and abstract will be available from multiple originals, supervised and approved by Laurie, but produced style ‘Warhol in order to meet the demands of his work.
Laurie occasional originals are now very difficult to collect and the source as Laurie spends more time on his novel and new models for different home markets. Its range start “Harmony” and working on the following scale “water” and figurative pieces are now highly collectable.
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An offset lithography printing press gives this fine art print its vivid and sharp appearance. The standardized printing plates and proofing process guarantee that each print displays colors precisely as the artist or publisher intended. Produced on medium weight cover stock, this high-quality reproduction is coated with a silken finish that protects the inks and creates an elegant look. The versatile art print strikes a balance between quality and affordability.
The very nature of abstract art might lead us to suppose that it stands at an even further remove from Impressionism than Cubism did. The fact is, however, that by reacting against cubist rationalism and reverting to the basic forms and forces that appeal to the human instinct, abstract art has contributed to focus the attention of the younger generation of painters on the master of Giverny.
The first wave of abstractionism unleashed by Cubism was based, it is true, on a rational, intellectualized system of symbols. But it was followed by a purer form of abstraction embodying a very different conception of art. The latter, based not on the reasoning mind but on the senses, set out to give plastic expression to the blind, instinctive forces and uncontrollable pulsions that lie beneath the surface of consciousness. Since this is the prevailing trend of art today, it is only natural that the younger generation of painters should be more susceptible than their elders to a purely sensorial art; only natural, therefore, that they should see Monet’s last works in a new light.
To them the great Water Lilies recently withdrawn from the seclusion of the studio at Giverny have come as a revelation. In these canvases, executed when Monet’s eyes were clouded by cataract, they have found, as it were, the sponsorship of their own experiments in “abstract expressionism.” But the question arises: may not this apparent sponsorship be simply fortuitous, inasmuch as the works on which it is based were the result, involuntary perhaps, of failing eyesight? To this there is only one reply: after the operation which partially restored his sight, Monet preserved the canvases in question instead of destroying them, and it was his lifelong habit to destroy every canvas that failed to satisfy him.
Furthermore, the keen interest he took in these experiments in near-abstraction, in which the very shape of objects melts away in modulations of colors, is confirmed by his deliberate resumption of them after his recovery. It is easy to identify the canvases executed before his operation, when the cataract had spread an amber-colored film over the crystalline lens of his eyes: these canvases are not only woolly in outline but abnormally yellow in tone. Those painted after the operation, on the contrary, have an almost acid freshness of tone. Now some of the latter group, some of the most characteristic among them in fact (whose documented dating, moreover, is unimpugnable), nevertheless retain a haziness of outline which renders the subjects unrecognizable. These works can only be regarded as experiments in abstraction deliberately undertaken.
Among these irrefutable examples of deliberate abstraction is a Garden in Bloom, in green and acid pink, whose subject is only recognizable by reference to a second version, painted by Monet at the same time, from the same spot, but with normal eyesight. The composition, angle of vision, lighting and color scheme of the two pictures are identical. The only difference is the handling, the focus, if you will: clean-cut in one, blurred in the other. Without reference to the first, which corresponds to it in every particular, save handling, the second fails to convey any figurative impression at all; it is, purely and simply, a magnificent symphony of colors.