Superior quality Print/Poster ready for framing • Available in 4 sizes: A4 = 210mm x 297mm or 8.3 x 11.7 inches. A3 = 297mm x 420mm or 11.7 x 16.5 inches A2 = 420mm x 594mm or 16.5 x 23.4 inches A1 = 594mm x 841mm or 23.4 x 33.1 inches • Printed on high quality 260gsm Satin Fine Art Papers • We use the latest 12 colour printing technology for vivid results • All prints are carefully rolled into secure cardboard tubes to help enable a damage free delivery • Artwork is printed edge to edge for a seamless finish • Arrives ready to be framed We welcome custom requests such as unique sizes to your own specification, alterations to the image for example, if you require a border, prefer the image to be Greyscale etc. Please send us a message before ordering so we can confirm any changes. Please note: We also offer all of our Prints available as a ready to hang gallery wrapped Canvas which is available in 3 sizes. Visit our Etsy shop and search by Artist name/ Title to view all options available. If you cant find what your looking for then send us a message and we are more than happy to make your required image available for you.

Böcklin immersed himself in the history of painting from the Renaissance onwards, drawn to mythological imagery, and to all that was dramatic and extravagant.

Böcklin fue una figuras fundamental dentro del Simbolismo, surgido en el último tercio del s XIX como reacción al impresionismo y el postimpresionismo.

Arnold Böcklin was a symbolist Swiss painter, rejected the naturalistic trends and created symbolic, mythological works.

Arnold Böcklin was a symbolist Swiss painter, rejected the naturalistic trends and created symbolic, mythological works.

Ruins being slowly destroyed by the sea, a sacred grove, and above all his most famous work, Island of the Dead.

Homeric Hymns translated by Andrew Lang XVIII. TO PAN Tell me, Muse, concerning the dear son of Hermes, the goat-footed, the twy-horned, the lover of the din of revel, who haunts the wooded dells …

Arnold Böcklin 1827-1901 Sea Idyll. 1887 Wien Belvedere L'ART QUI FAIT RÊVER contre L'ART QUI FAIT CAUCHEMARDER. "Par l'harmonie de l'âme avec l'Univers, donner la vie, telle est la mission de l’artiste." François CHENG. "By the harmony of the soul with the Universe, giving life is the mission of the artist." François CHENG. Le monde est là pour être goûté; la réalité est là comme un banquet qui s'offre, l'art n'est rien d'autre que l'exaltation de la saveur cachée des choses. François CHENG. (« Toute beauté est singulière » « D’où jaillit le chant » et « Shitao, la saveur du monde ») The world is there to be tasted; reality is there as a banquet that is offered, art is nothing more than the exaltation of the hidden flavor of things. François CHENG. ("All beauty is singular" "From where the song springs" and "Shitao, the flavor of the world") Joan Miro a proclamé qu'il voulait "massacrer la peinture", l'affirmation sonne comme une provocation qui est tout à fait caractéristique de l'art contemporain. Mais, malgré ses intentions affichées, Miro n'est pas parvenu à massacrer le Beau, sauf dans quelques très rares tableaux de la fin de sa vie. Il a continué de proposer une peinture qui peut faire rêver les peuples. Une peinture globalement, sauf accident, aimable et joyeuse. C'est quand les peintres occidentaux ont décidé de peindre un monde qui ne fait pas rêver les peuples, que l'art contemporain a débuté. Le massacre de la peinture promis par Joan Miro était réalisé. L'Occident est alors entré dans l'art systématique du Laid, de l'Absurde, autrement dit dans l'Art Triste. Cette décision de créer l'Art du Laid, un art qui interdit aux peuples tout rêve, mérite réflexion. D'abord, c'est une nouveauté à peu près absolue dans l'histoire de la peinture européenne (1). Secondement c'est une nouveauté dont on peut penser qu'elle est révélatrice d'un état d'esprit inquiétant (2). 1) Pendant des siècles, la peinture européenne, l'art européen en général, a été conçu pour faire rêver les gens, ou une partie importante d'une population : aristocratie, bourgeoisie ou peuple. Rêve de Dieu, rêve d'Amour spirituel ou sensuel, rêve de vie éternelle, rêve de bonté, de pureté et de beauté, rêve de maternité, rêve de paradis, sur terre ou dans les airs, rêve de paysage idyllique, rêve de chasse réussie, rêve d'abondance. Quand la peinture européenne peignait des monstres ou des guerres, c'était exactement ce qu'il fallait pour formuler un rappel du réalisme nécessaire. Apollon dépouilla Marsyas, Prométhée se faisait manger le foie, Adonis mourait, Orphée ne réussissait pas à ramener Eurydice des Enfers, mais Europe n'était pas malheureuse d'être enlevée, Aphrodite (Vénus) était née, et le printemps revenait comme Perséphone des enfers. Les Crucifixions, les Entombements et les Pietas étaient toujours accompagnés d'une Annonciation, d'une Nativité et d'une Résurrection. Et après la mort de la Vierge venait son couronnement. L'art hollandais du XVIIe siècle, profane, laïc, proclame sans se lasser les joies simples de la vie de famille, les paysages maritimes, les cieux changeants, les fêtes de village, les danses de mariage et les abondances matérielles : viande, légumes, fromage et fleurs en abondance. Une profusion que les têtes de mort ne parvenaient pas à cacher. Même sans leurs dents, les agriculteurs chantaient, certainement en buvant un peu trop. Tout l'art néo-classique, romantique et impressionniste du XIXe siècle a fait rêver avec des paysages d'Italie ou d'ailleurs : prairies parsemées de coquelicots, rivières fraîches et amicales, forêts pleines d'ombres favorables, châteaux mystérieux, troupeaux de moutons et bovins, bergers musiciens..... Et à part quelques naufrages dans une mer agitée, dans l'ensemble, la peinture européenne était joyeuse et faisait rêver. 2° C'est à partir des années 1950 et suivantes que l'art européen officiel devient totalement sinistre. Rien n'y échappe, sauf l'architecture. ( l'architecture des architectes, pas de celle des entrepreneurs) Le Non Sens, l'absence de signification de l'art abstrait terminal, ne suffit plus. L'Absurde poussé jusqu'aux extrêmes de l'horreur banale, ordinaire, et du pessimisme le plus plat, le plus quotidien, et le Laid, font la loi. Sièges et tables bancales, tas de gravats, carrés blanc, jaune, noir, rouge, poutrelles rouillées, tordues, cassées, cartons assemblés, chiffons entassés, boites ouvertes ou fermées, machineries cassées ou concassées, tubulures, poutres de ciment, moellons, parpaings, tuiles, briques entières ou pulvérisées, tubes de néon, sacs, sacs de cailloux, toutes les sortes de tuyaux: fer, ciment, plastiques, tous les tissus en vrac, le caoutchouc, les seaux, brocs, pots.... et bien sûr des taches, des taches, des taches....surtout des taches. Pour que vous tâchiez d'y comprendre rien. Les musées d'art contemporain sont, le plus souvent, les exceptions existent mais elles sont rares, une anthologie de la laideur, dépourvue du moindre humour, toujours accompagnée d'un discours totalement inintelligible, mais se voulant supérieurement intelligent. C'est l'art d'une élite qui refuse de communiquer avec ses semblables et aussi incapable de sentir et faire ressentir des émotions positives. Pas de beau, pas de joie, pas de bon. L'art de faire rêver est devenu l'art de faire cauchemarder les peuples. C'est un art autiste, dont la prétention n'a d'égale que son mépris des peuples, qui s'est installé en Occident, avec l'absolue certitude d'être "La Lumière". Et c'est en cela que cet art est Sacré, interdit de critique. Un nouvel art, doublement sacré : il est le reflet de la nouvelle religion dualiste de l'Occident, celle des Lumières et celle de l'Argent. L'art d'une élite mondialiste qui a décidé de supprimer toutes les nations et pour laquelle la vie humaine ne compte pas. ART THAT MAKES A DREAM against ART THAT MAKES CAUCHEMARD Joan Miro proclaimed that he wanted to "massacre painting", the statement sounds like a provocation that is quite characteristic of contemporary art. But, despite his stated intentions, Miro did not succeed in massacring the beautiful, except in a few very rare paintings at the end of his life. He continued to propose a painting that can make people dream. A painting overall, except accident, kind and joyful. It was when Western painters decided to paint a world that did not make people dream, that contemporary art began. The massacre of the paint promised by Joan Miro was carried out. The West then entered the systematic art of the ugly, the absurd, in other words, Sad Art. This decision to create the Art of the ugly, an art that prohibits people from dreaming, is worth considering. First of all, it is an almost absolute novelty in the history of European painting (1). Secondly, it is a novelty that can be thought to reveal a worrying state of mind (2). 1) For centuries European painting, European art in general, was designed to make people dream, or such a significant part of a population: aristocracy, bourgeoisie or people. Dream of God, dream of spiritual or sensual Love, dream of eternal life, dream of goodness, purity and beauty, dream of motherhood, dream of paradise, on earth or in the air, dream of idyllic landscape, dream of successful hunting, dream of abundance... When European painting painted monsters or wars it was just what was necessary to formulate a reminder of the necessary realism. Apollo skinned Marsyas, Prometheus had his liver eaten, Adonis died, Orpheus failed to bring Eurydice back from the Underworld, but Europe was not unhappy to be kidnapped, Aphrodite (Venus) was born, and Spring returned as Persephone of the Underworld. The Crucifixions, Entombment and Pietas were always accompanied by an Annunciation, a Nativity and a Resurrection. And after the death of the Virgin came her Coronation. 17th century Dutch art, profane, secular, proclaims without tiring the simple joys of family life, maritime landscapes, changing skies, village festivals, wedding dances and material abundance: meat, vegetables, cheese and flowers in abundance. A profusion that the skulls could not hide. Even without their teeth, farmers sing, certainly by drinking a little too much. All the 19th century neo-classical, romantic and impressionist art made people dream with landscapes of Italy or elsewhere: meadows dotted with poppies, fresh and friendly rivers, forests full of favourable shadows, mysterious castles, herds of sheep and cattle, shepherds musicians.... And except for a few shipwrecks in a rough sea, on the whole, European painting was joyful and made people dream. 2 ° From the 1950s onwards, official European art became totally sinister. Nothing escapes, except the architecture. (I speak of the architecture of architects, not the entrepreneurs) The Non Sense, the lack of meaning of the abstract art, is not enough anymore. The absurd is pushed to the extremes of the ordinary horror, banal, and the most flat, everyday pessimism, and the ugly, make the law. Seats and woobbly tables, piles of rubble, squares white, yellow, black, red, beams rusty and twisted, broken joists, assembled cartons, piled rags, open or closed boxes, broken or crushed machinery, pipes, cement beams, tiles, whole bricks or pulverised, neon tubes, bags, bags of pebbles, all kinds of pipes: iron, cement, plastics, all loose fabrics, rubber, buckets, pots, jugs, jars .... and of course Stains, stains, stains ... especially stains. Contemporary art museums are, most often, exceptions exist, but they are rare, an anthology of stupid ugliness, devoid of the slightest humor, always accompanied by a totally unintelligible discourse, superbly stupid, but wishing to be above all intelligent. It is the art of an elite who refuses to communicate with his fellow men and also unable to smell, and make feel, positive emotions. No beauty, no joy, no good. The art of making people dream has become the art of making people nightmarish. It is an autistic art, whose claim is equaled only by its contempt of the peoples, who settled in the West, with the absolute certainty of being "The Light". And it is in this that this art is sacred, prohibited from criticism. A new art, doubly sacred: it reflects the new dualistic religion of the West, the Enlightenment and that of the Money. The art of a globalist elite who has decided to suppress all nations and for which human life does not count.

The Print This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée is a printing process where millions of ink droplets are “sprayed” onto high-quality paper. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. The high-quality paper (235 gsm) is acid free with a smooth surface.   Paper Type: Giclee Print Finished Size: 12" x 18" Arrives by Sat, May 4 Product ID: 16175313

Death Playing the Fiddle, Arnold Bocklin, Self Portrait, 1873, Violin, Artist. 11x14" Cotton Canvas Print. Goth art, canvas art Colors will vary due to your monitor settings Free ship US This art print was taken from a vintage painting, print, postcard or digital source. It is in the public domain in the US because the copyrights (if any) have expired. All quoted shipping costs are USA only. NOTE: Our prints are taken from an antique/vintage paintings, greeting cards, post cards etc.. Much of the time, these were originally printed on a soft and porous paper, which softened the images. They didn't have the technology back then to photo-shop and fix these images. That is why I chose to reproduce only antique art in it's original content (no photo-shop). I love the old school art. These are also paintings and drawings, and so the styles vary. The papers we use today, have special coatings so that they attract the inks or dyes well, and stop much of the seeping of the inks. Our new technologies print exactly what is on the scan of the original image. If you purchase canvas, it is made of cotton, and even though it also has this special coating, it is textured, and softens the look of the final result. It is archival, and of the highest quality, but is best for paintings since they were mostly created on artist canvas. It is important to note that if you are buying on your phone or tablet, the images you see are only tiny thumbnails, and so you can't really see the detail in the scan on the listing. If you can look on a computer, you can then see the depth and detail of the image you want. Artwork is not created equal, and sometimes there are clear and distinct lines, and other times the style is less detailed. Lastly, Colors will vary slightly, due to the difference in your monitor settings. Please zoom in on the image to see the detail. I will ship to your country, via first class intl. USPS, but please contact me for a quote before you buy. All art prints are custom designed to fit into a standard, modern frame. The openings on these frames are smaller than the listed size. Your print will be slightly larger than the opening. You can carefully trim it to fit your frame, and pop it in, with or without a mat. Each print is made as it is ordered. Please convo me if you need a specific size. I use real cotton artist's canvas, and the newest technology to enlarge the images, pixel x pixel. There is no stretching or skewing, Cotton canvas is textured in tiny squares, and produces a soft finish like a painting. Since it is fabric, it grabs the color for an extraordinary presentation. I use archival canvas, and special dyes to print each image. They will last 100 years under normal circumstances. Your monitor settings will vary from mine, so colors may look different to you than they really are. Color match technology produces exact colors to the image file used. Satin canvas is also textured, but it not as dense. It has a semi-gloss light and moisture proof finish. It is great for posters, too. NO stretching or mounting is needed. No need for expensive, custom framing. I use special, secure packing materials, to insure that your item arrives safely. I have been collecting and selling art prints for many years. I may have just what you are searching for. Just ask, and I will create a special listing, just for you. Thank you for your interest. Carol@ just4allkids [!at] yahoo.com

Arnold Böcklin(Swiss, 1827 - 1901)

Arnold Böcklin was a symbolist Swiss painter, rejected the naturalistic trends and created symbolic, mythological works.

Painting by Arnold Böcklin

- 1880 - (em cinco versões) - Tais Luso de Carvalho Nascido na Suíça, em Basiléia / 1827, Arnold Böcklin aparece junto com Ferdinand Hodler, como o mais importante pintor suíço do século 19. Nas décadas de 1980 e 1890 foi o artista mais influente do mundo germânico ainda que, desde 1850 tenha passado a maior parte de seu tempo na Itália. Logo enquadrou-se no Movimento Simbolista, da época, porém não se deixou influenciar pelos artistas franceses. Começou a pintar paisagens românticas. Depois suas obras inspiraram-se muito em figuras mitológicas, porém sua obsessão era com a morte; era ignorar a realidade e realçar a fantasia. Consolidou sua reputação com a obra 'Pan entre os Juncos' (1857), que marcou o momento que voltou ao mundo das ninfas, dos sátiros náiades e dos tritões, obtendo por vezes resultados absurdos. Para ele o mundo era um sonho alucinatório, povoado dessas ninfas, sereias e faunos que traduzia a inquietude do homem. Sua tendência ao fantástico acentuou-se ainda mais após uma visita à Roma onde entrou em contato com as lendas e as mitologias locais dos quais extraiu o repertório para suas produções. Posteriormente seu estilo tornou-se mais sombrio e carregado de sentimento místico como expressa em sua obra mais conhecida, A Ilha dos Mortos, perto de seu estúdio e onde enterrou sua pequena filha Maria. Essa obra, de 1880, encontra-se, atualmente, no Metropolitan Museun de Nova York. Ao todo são 5 versões - no qual o barqueiro dos infernos, Caronte, transportava as almas para outro mundo. Suas imagens mórbidas instigaram os surrealistas. O artista descreveu a primeira versão da obra A Ilha dos Mortos de uma maneira muito peculiar: Aqui têm, como desejaram, um quadro para sonhar. Ele terá de parecer tão silencioso que nos assustamos se alguém bater à porta. - Böcklin. O próprio Böcklin tinha intitulado seu quadro como Um Quadro Para Sonhar. Seu negociante de arte, Gurlitt, que conhecia o gosto da época, interferiu e lhe deu o nome de A Ilha dos Mortos. É uma obra dramática e, na sua quinta versão aparecem trovoadas que tornam a cena mais clara e pesada. Mesmo assim a Ilha apresenta uma calma misteriosa e inquietante. Será um lugar de culto ou jazigo? Vemos fantasia, tranquilidade, despedida e nostalgia. Intensamente criativo, Böcklin transformou-se no decorrer de sua carreira, num pintor extremamente preocupado com os detalhes. Foi como se quisesse, através desses cuidados, dar uma consistência mais objetiva às suas inquietantes fantasias. Trabalhou em Dusseldorf, Roma, Weimar, Basiléia, Zurique, Munique e Florença. Exerceu influência sobre Max Ernest, Salvador Dali e Giorgio De Chirico. A melhor coleção de Böcklin está em Kunstmuuseum da Basiléia, sua cidade natal. O atelier mostrado abaixo é em Zurique. Veio a falecer em 1901 - em Fiesole. Algumas Obras: Despontar da Primavera 1880 - Jovem com Flores 1866 - Auto-retrato - Brincando nas Ondas 1883 -Triton e Nereida - Ulisses e Calipso 1883 - Mar Calmo 1887 - A Ilha dos Mortos (em 4 versões) - Pan entre os Juncos 1858 - Ataque de Piratas 1886 - Medusa - Santo Bosque - Capela - Ruínas do Mar, entre tantas outras. Clique nas fotos para aumentá-las Clique nas fotos Outra versão de A Ilha dos Mortos Fontes: Dicionário Oxford Arte nos séculos – abril cultural História da Pintura - Könemann Arnold Böcklin