Background
Paul Jean Clays was born in Bruges on November 27, 1819.
(Matte Canvas: Produced on bright white, fine poly-cotton ...)
Matte Canvas: Produced on bright white, fine poly-cotton blend, matte canvas using the latest generation giclee technology. The quality of the giclee print rivals traditional silver-halide and gelatin printing processes and is commonly found in museums and art galleries in New York City at the Metropolitan Museum, the Museum of Modern Art, and the Chelsea Galleries. The giclee process involves the spraying of millions of ink droplets onto high quality paper. The smooth transitions of color gradients make giclee prints appear much more realistic than other prints. Although our reproductions come in standard sizes, they can be enlarged as per your requirement. However, please note that the dimensions of the length and breadth of the original will need to be maintained in the same ratio. Changing the ratios would result in either a skewed or cropped reproduction; neither of which are desirable or available. All our giclee canvas gallery wrapped prints come already stretched on the frame. There is no other assembly required. Our team carefully stretches each canvas onto the frame to give you a professional gallery wrapped canvas print. We use quality galvanized steel staples when stretching the canvas. Then, we finish it with brown framing tape hiding all the staples. Our packaging has been designed to ensure your canvas will arrive to you in perfect condition with as little waste as possible.
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Paul Jean Clays was born in Bruges on November 27, 1819.
When Paul Jean Clays began to paint, the sea was considered by continental artists as worth representing only under its most tempestuous aspects. Artists cared only for the stirring drama of storm and wreck, and they clung still to the old-world tradition of the romantic school. Clays was the first to appreciate the beauty of calm waters reflecting the slow procession of clouds, the glories of sunset illuminating the sails of ships or gilding the tarred sides of heavy fishing-boats.
He painted the peaceful life of rivers, the poetry of wide estuaries, the regulated stir of roadsteads and ports. And while he thus broke away from old traditions he also threw off the trammels imposed on him by his master, the marine painter Theodore Gudin (1802 - 1880). Endeavouring only to give truthful expression to the nature that delighted his eyes, he sought to render the limpid salt atmosphere, the weight of waters, the transparence of moist horizons, the gem-like sparkle of the sky.
A Fleming in his feeling for colour, he set his palette with clean strong hues, and their powerful harmonies were in striking contrast with the rusty, smoky tones then in favour. If he was not a " luminist " in the modem use of the word, he deserves at any rate to be classed with the founders of the modern naturalistic school. This conscientious and healthy interpretation, to which the artist remained faithful, without any important change, to the end of an unusually long and laborious career, attracted those minds which aspired to be bold, and won over those which were moderate.
(Matte Canvas: Produced on bright white, fine poly-cotton ...)
In 1852 Paul Jean Clays married Marie-Isaure.