The Battle - George Bellows
Archival giclée
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Description
A powerful 1923 lithograph by George Bellows, depicting a raw wrestling match between two figures observed by a suited spectator.
George Bellows produced this lithograph, titled The Battle, in 1923. It represents his interest in the physical struggle and the raw energy of human conflict. The composition features two semi-nude figures engaged in a wrestling match, their bodies rendered with muscular tension and anatomical precision. A third figure, dressed in a formal suit, observes the scene from the side, creating a contrast between the primal nature of the fight and the detached presence of the spectator.
Bellows utilised the medium of lithography to achieve deep, velvety blacks and a wide range of tonal greys. The lighting is dramatic, casting long shadows and defining the contours of the figures against a simplified, atmospheric background. The work reflects the artist's broader engagement with the social and physical realities of early twentieth-century American life. His approach to the human form here draws upon classical traditions of heroic struggle, yet the setting remains ambiguous and stark.
The collaboration with master printer Bolton Brown is evident in the technical execution of the print. The marks are deliberate, showing the artist's confidence in handling the lithographic stone. The figures are positioned to draw the eye across the frame, with the outstretched arm of the standing wrestler providing a diagonal force that balances the grounded, kneeling figure. This print demonstrates the capacity of black and white media to convey weight, motion, and psychological intensity without the need for colour. It remains a clear example of Bellows's ability to capture kinetic energy within a static image, focusing on the mechanics of the body in motion.
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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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
The Battle - 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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