Gari Melchers Little Red Riding Hood - 21" x 28" Premium Canvas Print
(21" x 28" Gari Melchers Little Red Riding Hood premium ca...)
21" x 28" Gari Melchers Little Red Riding Hood premium canvas print reproduced to meet museum quality standards. Our museum quality canvas prints are produced using high-precision print technology for a more accurate reproduction printed on high quality canvas with fade-resistant, archival inks. Our progressive business model allows us to offer works of art to you at the best wholesale pricing, significantly less than art gallery prices, affordable to all. This line of artwork is also available gallery wrapped by our expert framers at wholesale prices. We present a comprehensive collection of exceptional canvas art reproductions by Gari Melchers.
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100% Satisfaction is Guaranteed! There are no problems in page content and in the paper. You will be the first to open the book cover. For Used condition books in our store; It shows signs of wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact , but may have aesthetic issues such as price clipping, nicks, scratches, and scuffs. Pages may include some notes and highlighting. For all our books; Cargo will be delivered in the required time.
Global Gallery GCS-282504-22-142 "Gari Melchers Nellie Kabel" Gallery Wrap Giclee on Canvas Wall Art Print
(This museum quality archival giclee on canvas is printed ...)
This museum quality archival giclee on canvas is printed using state-of-the-art digital technology. Printed on artist-grade canvas each item is hand-inspected for quality assurance and then coated with a protective sealant that provides UV and scratch protection. Each item is then hand-stretched around solid pine stretcher bars for a clean and read-to-hang finish. Depending on the size ordered the piece will then be affixed with either a Saw-Tooth hanger or a traditional hanging hook and wire in the case of larger items. This canvas has what we call a gallery wrap. In other words the sides are mirrored images of the face of the canvas. It is a contemporary gallery look that helps to accentuate the design.
Julius Garibaldi Melchers probably received the germ of his proficiency by transmission from his father, Julius Theodore Melchers, a Westphalian who had a Franco-Dutch mother. The elder Melchers was himself a sculptor and decorator, who had studied under Carpeaux and Étex in Paris. On coming to America and marrying Marie Bangetor, he made his home in Detroit, where the son, named Julius Gari, was born. From the start there seems to have been complete sympathy on the father's part for his son's gravitation toward an artistic career.
Education
The boy was only seventeen when he was permitted to go abroad to study painting, not amid the beguilements of Paris, to be sure, but in either Munich or Düsseldorf, as he chose. Melchers selected Düsseldorf and entered the Royal Art Academy there under Professor Von Gebhardt. His sojourn was indicative of future contacts. He was always to have ties with the artistic side of Germany. But in his youth, the lure of Paris was not to be withstood. He visited the great exposition there in 1878. Returning to Düsseldorf he remained for three years but at the end of that period, he entered the École des Beaux-Arts, where he received instruction and criticism from Boulanger and Lefebvre. It was the turning point in his career.
Career
Paris completed what Düsseldorf had begun and Gari had a picture accepted for the Salon of 1882. A brief period of work in Italy followed and after that a visit to his home, but in 1884 he was in Europe again, with studios in Paris and at Egmond, in Holland. Thenceforth he was active on both sides of the Atlantic down to the time of his death. He achieved an international repute through the solidity of his gift and through the wide range covered in its exercise. Religious as well as secular motives came within his scope. He was skilled alike in portraiture and in the painting of landscape and flowers, and his works in the Library of Congress at Washington and elsewhere testify to his aptitude in mural decoration. His early training had much to do with the felicity of his painting, for it grounded him in habits of fine draftsmanship and sound design which he never lost. The retrospective exhibition mentioned above made this last circumstance impressively manifest, illustrating as it did with equal brilliance the diverse aspects of a long career. He died on November 30, 1932, literally "full of years and honors. "
a member of the Royal Academy of Berlin, a member of the International Society of Sculptors, Painters, and Gravers in England, a member of the Société-Nationale des Beaux-Arts in Paris, a member of the Institute of France, a member of the Royal Society of Austrian Painters, a member of the National Academy of Design
Personality
Melchers was in a rare degree the thoughtful practitioner, working in all the categories and functioning therein with a full-rounded equipment of both mind and hand. In his early manhood at Egmond he inscribed over the door of his studio the Dutch words "Waar en Klaar, " and he pursued those qualities with unremitting ardor and astonishingly even success. His art was, indeed, true and clear, true to nature, and invested with the clarity only attainable by an expert technician. Nothing offers better evidence of his poise than the unforced nature of that quality in his work to which the word "picturesque" must be applied. He long had a keen interest in the humble life of Holland, the milkmaids in the fields, the peasant girl dressed for Communion, the villagers at worship, and he loved both the distinctive dress they wore and the background against which they moved. But his most ambitious design was never the set "costume piece. " On the contrary, it was a page from life, singularly direct and sincere. So when he chose "The Last Supper" for a theme he treated it imaginatively, tenderly, but above all things humanely. Melchers was a forthright, candid man, pungent in speech, frank in action, and of altogether generous and genuine traits. His character, as lovable as it was virile, passed into his work. There is nothing fumbling or uncertain about his stroke. The drawing in a picture of his is firm and flowing, the touch of the brush forceful, the color pure, strong, and charming. As a colorist indeed, he was exceptionally dowered, making a note of white, or green, or violet, or orange, sing with equal plangency and beauty. He had a deep feeling. It comes out in the earnest countenances of the men and women assembled in one or another of his Dutch church interiors. It is perceptible in his "Last Supper, " a composition of noble dignity and warm emotional content. His insight is disclosed by his portraits, which are vivid characterizations. His rank is determined by these imponderables and by his ability as a painter pure and simple, a master of his craft who was devoted to the integrity of art.
Connections
In 1903 Melchers married Corinne Lawton Mackall, of Savannah, Georgia, and in 1916 they established themselves on a delightful estate above the Rappahannock at Falmouth, near Fredericksburg, Virginia. They had no children.