Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Merci - Joan Mitchell
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A large-scale diptych by Joan Mitchell, featuring bold cobalt blue and orange gestural marks on a white ground.
Merci is a large-scale diptych produced by Joan Mitchell in 1989. It represents the later period of her career, during which she resided in Vétheuil, France. The work consists of two panels featuring energetic, gestural brushwork against a stark white ground. Mitchell employs a palette dominated by cobalt blue and burnt orange, applied with varying degrees of pressure and speed. The left panel contains a vertical cluster of blue strokes, balanced by a smaller, looping orange form. The right panel displays a more complex interaction between the two colours, with paint drips cascading down the lower half of the canvas, revealing the physical process of the application.
Mitchell was associated with the second generation of the New York School, though her work maintains a distinct relationship with the natural world and memory. Unlike the purely non-representational approach of some contemporaries, her compositions often evoke the sensation of light, weather, or the specific atmosphere of her surroundings. In this piece, the white space functions as an active element, providing a sense of air and distance between the dense, chromatic masses. The drips and splatters are not accidental; they are controlled marks that document the duration and intensity of the painting session. By separating the composition into two panels, Mitchell creates a dialogue across the centre, encouraging the viewer to observe the spatial relationship between the two distinct groupings of colour. The work demonstrates her ability to balance chaotic, spontaneous movement with a rigorous sense of structural control.
Return policy
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
Complete The Look
Merci - Joan Mitchell
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Joan Mitchell
Mitchell painted large, aggressive, beautiful abstract canvases that looked nothing like what a woman painter was supposed to produce in the 1950s. The brushwork is violent. The colours are intense. The scale is monumental. She was an Abstract Expressionist in a movement that did not welcome women, and she responded by painting bigger, harder, and with more conviction than most of her male contemporaries.
She grew up in Chicago, the daughter of a dermatologist and a poet. She was a competitive figure skater and diver. The athleticism transferred to her painting: she worked standing, moving around the canvas, using her whole body. She studied at the School of the Art Institute of Chicago and moved to New York in 1949, joining the Cedar Bar circle of de Kooning, Kline, and Pollock.
She moved to France in 1959, first to Paris and then to Vetheuil, the village on the Seine where Monet had lived. The coincidence was not accidental. She painted landscape-derived abstractions that have the luminosity and colour sensitivity of Impressionism executed at Abstract Expressionist scale. La Grande Vallee, a series of large paintings from the 1980s, is a sustained meditation on landscape, memory, and loss.
She drank heavily, was difficult personally, and made no concessions to the market or to critics. She sold well in Europe before America caught up. The retrospective at the Whitney in 2002, three years before her death, confirmed what her collectors had known for decades: she was one of the best painters of the second half of the twentieth century.
She grew up in Chicago, the daughter of a dermatologist and a poet. She was a competitive figure skater and diver. The athleticism transferred to her painting: she worked standing, moving around the canvas, using her whole body. She studied at the School of the Art Institute of Chicago and moved to New York in 1949, joining the Cedar Bar circle of de Kooning, Kline, and Pollock.
She moved to France in 1959, first to Paris and then to Vetheuil, the village on the Seine where Monet had lived. The coincidence was not accidental. She painted landscape-derived abstractions that have the luminosity and colour sensitivity of Impressionism executed at Abstract Expressionist scale. La Grande Vallee, a series of large paintings from the 1980s, is a sustained meditation on landscape, memory, and loss.
She drank heavily, was difficult personally, and made no concessions to the market or to critics. She sold well in Europe before America caught up. The retrospective at the Whitney in 2002, three years before her death, confirmed what her collectors had known for decades: she was one of the best painters of the second half of the twentieth century.
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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