Dog in Motion - Joseph Stella
Archival giclée
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Description
A dynamic study of a dog in motion, rendered with expressive brushwork and an earthy palette by Joseph Stella.
Joseph Stella, an Italian-born American painter, is widely recognised for his depictions of the industrial dynamism of New York City. However, his body of work also includes smaller, more personal studies that reveal his technical range. Dog in Motion captures a fleeting moment of animal activity, rendered with a directness that contrasts with his more complex Futurist compositions. The subject is depicted in profile, with the head lowered and the body angled to suggest forward momentum.
The brushwork is loose and expressive, prioritising the capture of energy over anatomical precision. Stella uses a palette dominated by earthy ochres, muted browns, and a striking touch of green near the jaw, which draws the eye to the animal's action. The background is a flat, warm tone that pushes the figure forward, removing any sense of specific environment. This focus on the essential form of the dog reflects the artist's interest in the mechanics of movement, a theme he explored throughout his career in various subjects.
This piece offers a glimpse into the artist's private observations. It lacks the rigid geometry of his larger cityscapes, yet it maintains a sense of urgency. The canvas texture remains visible through the paint, adding a tactile quality to the image. As a study, it functions as a record of a momentary observation, preserved through quick, decisive strokes. The composition is balanced, with the weight of the dog's form anchored by the darker tones at the base. It is a work that rewards close inspection, revealing the artist's ability to distil a subject down to its most active components without unnecessary detail.
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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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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
Dog in Motion - Joseph Stella
Artist Biography
Joseph Stella
He was born Giuseppe Michele Stella in Muro Lucano, near Potenza, Italy, in 1877. His father and grandfather were attorneys. In 1896 he emigrated to New York to study medicine, following his older brother, a doctor, but abandoned that plan almost immediately and enrolled at the Art Students League, then studied under William Merritt Chase. A return trip to Europe in 1909 exposed him to Fauvism, Cubism and Futurism at exactly the right moment.
The Brooklyn Bridge became his obsession. He first painted it in 1919 after standing alone on the promenade late at night, listening to what he described as "the underground tumult of the trains in perpetual motion" and "the shrill sulphurous voice of the trolley wires". He later wrote that he felt "as if on the threshold of a new religion". His Brooklyn Bridge paintings, of which he made several versions over two decades, use Futurist fragmentation and Gothic verticality to transform an engineering structure into something approaching the sacred.
He was never fully at home in America. He spent long periods in Europe, North Africa and the Caribbean, producing collages from urban ephemera (paper scraps, wrappers with visible branding, bits of street life) that were never exhibited in his lifetime and only discovered by his circle after his death. He died in New York in 1946, at sixty-nine.
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