Family - George Bellows
Archival giclée
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Description
A 1916 lithograph by George Bellows, capturing a domestic scene through expressive tonal contrasts and a focus on human presence.
George Bellows, a central figure in the Ashcan School, produced this lithograph in 1916. The work captures a domestic scene with a focus on the psychological interplay between the subjects. Bellows utilised the lithographic medium to explore deep contrasts, employing dense blacks and textured greys to define the figures against a shadowy background. The composition features three individuals, their forms emerging from the darkness through expressive, gestural marks rather than precise outlines.
Bellows often turned his attention to the lives of ordinary people, moving away from the polished academic styles of his contemporaries. In this print, the figures appear in a moment of quiet proximity. The artist's technique relies on the physical properties of the lithographic stone, allowing for a range of tonal values that suggest depth and atmosphere. The heavy application of ink creates a sense of weight and presence, typical of his graphic work from this period. By focusing on the human element, Bellows provides a view into the private sphere, stripped of unnecessary detail or idealisation.
This print demonstrates the artist's ability to convey mood through light and shadow. The figures are rendered with a degree of abstraction, where facial features are suggested rather than fully articulated. This approach invites the viewer to focus on the overall emotional tenor of the scene. As a practitioner of American realism, Bellows maintained an interest in the authentic experience of his subjects. This piece remains a clear example of his technical proficiency in printmaking and his interest in the human condition within the domestic environment.
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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
Family - George Bellows
Artist Biography
George Bellows
He painted boxing matches at Tom Sharkey's saloon, an illegal club near the Brooklyn waterfront where bare-knuckle fights happened in a back room. Stag at Sharkey's, painted in 1909 when he was twenty-six, shows two fighters locked together under electric light, the crowd surging at the edges of the canvas. The paint is applied with a violence that matches the subject.
He was the youngest artist associated with the Ashcan School and the boldest. While other members painted park benches and tenement laundry lines, Bellows painted excavation sites, shipyards, snow-covered lots, and river swimmers. The compositions are physically large, thickly painted, and arranged with an energy that makes the viewer feel as though the scene is still happening.
He worked as a newspaper sports illustrator to pay the bills, and the events he covered became paintings. In 1923 he was at the Polo Grounds on assignment for the New York Evening Journal when Luis Firpo knocked Jack Dempsey out of the ring and nearly into his lap. The painting he made of the moment reversed the punch to a left hook because the composition worked better that way. Accuracy was less important than impact.
He died of a ruptured appendix in 1925, at forty-two.
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