Boats at Flushing - Paul Signac
Archival giclée
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Description
A 1896 lithograph by Paul Signac, capturing the harbour at Flushing through the precise application of colour and light typical of Neo-Impressionism.
Boats at Flushing is a lithograph by Paul Signac, a leading figure in the Neo-Impressionist movement. Created in 1896, this work captures the harbour at Flushing in the Netherlands, a location that drew Signac for its unique light and maritime activity. The composition employs the divisionist technique, where small, distinct dots of colour are applied to the surface to create a luminous effect when viewed from a distance.
In this print, Signac focuses on the interplay between the moored vessels and the atmospheric conditions of the port. The foreground features the structural lines of the pier, which frame the scene and guide the eye toward the boats bobbing in the water. The sky and water are rendered with a delicate application of colour, suggesting the soft, diffused light of a coastal day. Unlike his oil paintings, which often feature high-chroma pigments, this lithograph relies on a more restrained palette, allowing the texture of the print to define the forms of the sails and the ripples on the water surface.
Signac was deeply interested in the scientific application of colour theory, a pursuit he shared with Georges Seurat. By breaking down the image into individual marks, he sought to achieve a greater luminosity than traditional blending methods allowed. This print reflects his technical precision and his fascination with the transient nature of light on water. The work remains a clear example of his ability to translate the principles of pointillism into the graphic medium of lithography, maintaining the sense of movement and atmosphere that defined his career.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Boats at Flushing - Paul Signac
Artist Biography
Paul Signac
Signac embraced Pointillism after encountering Seurat's *A Sunday on La Grande Jatte* in 1884. Captivated by the scientific approach to colour and light, he became a devoted follower and, later, a leading advocate of the style. Following Seurat's untimely death in 1891, Signac stepped into the role of the movement's champion, ensuring its continued influence on the avant-garde. His own works, such as *The Red Buoy* and *Antibes, Evening*, showcase his mastery of the technique, using vibrant dots of pure colour to create luminous and harmonious compositions.
Beyond his artistic output, Signac was also a dedicated writer and theorist. His book, *From Eugène Delacroix to Neo-Impressionism*, remains a seminal text on the subject, providing invaluable insights into the principles and philosophy behind Pointillism. Signac's passion for sailing also profoundly influenced his art, with many of his paintings depicting coastal scenes and harbours across France. He died in 1935, leaving behind a legacy as both a talented artist and a key intellectual force within the Neo-Impressionist movement.
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