The Model - George Bellows
Archival giclée
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Description
A striking 1921 lithograph by George Bellows, featuring a seated model rendered with high-contrast textures and expressive, direct linework.
George Bellows, a central figure of the Ashcan School, produced this lithograph in 1921. The work captures a seated female figure, rendered with the directness and technical command that defined his later graphic output. Bellows began his serious exploration of lithography in 1916, quickly mastering the medium to create works that balanced tonal depth with stark, expressive line work.
In this composition, the subject sits in a relaxed pose, her gaze directed towards the viewer. The artist employs a high-contrast approach, using deep, dense blacks in the fabric of the skirt to anchor the figure against the lighter, more atmospheric background. The treatment of the skin is subtle, relying on minimal shading to suggest volume, while the drapery of the skirt is built up through vigorous, directional strokes. This contrast between the economy of the upper body and the textural density of the lower portion creates a visual rhythm typical of Bellows's approach to the human form.
Bellows often used his wife, Emma, or professional models for these studies, focusing on the psychological presence of the sitter rather than idealised beauty. The print demonstrates his ability to manipulate the lithographic stone to achieve a range of grey tones, from the soft, hazy wash of the background to the sharp, dark marks that define the folds of the clothing. The signature and title are inscribed in the lower margin, consistent with his practice of signing his limited editions. This print offers a clear view into the artist's studio practice, where the act of drawing directly onto the stone allowed for a spontaneous, immediate quality that translates well to the fine art print medium.
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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 Model - 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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