Frontaal gezien, zittend naakt in geometrische omgeving - Samuel Jessurun de Mesquita
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Description
A striking lithograph by Samuel Jessurun de Mesquita, featuring a seated nude figure framed by geometric patterns and stark, symbolic forms.
Samuel Jessurun de Mesquita, a Dutch graphic artist, produced this lithograph during a period when his work often explored the intersection of human form and rigid, symbolic geometry. The composition presents a seated nude figure, rendered in a frontal, symmetrical pose that evokes a sense of stillness and detachment. The artist employs a stark contrast between the soft, stippled texture of the figure and the harsh, linear patterns surrounding her.
The background features a trapezoidal frame that encloses the upper portion of the figure, creating a sense of containment or isolation. Below, the base is decorated with repetitive, angular motifs reminiscent of Greek key patterns or architectural friezes. This juxtaposition of the organic human body with mathematical precision is a hallmark of de Mesquita’s graphic output. His approach to the medium of lithography allows for subtle gradations of tone, particularly in the shading of the torso and limbs, which contrasts with the flat, graphic quality of the decorative elements.
De Mesquita was known for his technical mastery of printmaking, particularly woodcuts and lithographs. His work often moved away from naturalism, favouring a stylised, almost ritualistic representation of his subjects. This piece avoids narrative or emotional cues, focusing instead on the formal relationship between the figure and the constructed space. The viewer is invited to observe the balance of light and shadow, as well as the deliberate arrangement of shapes that define the composition. By stripping away extraneous detail, the artist directs attention to the structural integrity of the image. This print remains a representative example of his ability to synthesise decorative art with figurative study, maintaining a disciplined aesthetic throughout his career.
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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
Frontaal gezien, zittend naakt in geometrische omgeving - Samuel Jessurun de Mesquita
Artist Biography
Samuel Jessurun De Mesquita
He was born in Amsterdam in 1868, of Portuguese Sephardic Jewish origin. He trained there and was appointed teacher at the School of Architecture and Decorative Arts in Haarlem in 1902, where he remained until 1926. Escher was his most famous student; it was De Mesquita who convinced the young Escher to abandon architecture for graphic arts, a decision that changed twentieth-century visual culture.
De Mesquita produced over four hundred prints, including woodcuts, wood engravings, etchings and lithographs, plus drawings and textile designs. His animal and bird woodcuts, with their stark black-and-white stylisation influenced by Japanese ukiyo-e, are among his most distinctive work. He was not religiously observant despite his Sephardic community background. His wife Elisabeth was gassed alongside him at Auschwitz; their son Jaap perished at Theresienstadt a month later. He died at Auschwitz, around 11 February 1944, at seventy-five.
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