Fine Art Poster
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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.
On the River - Henri-Edmond Cross
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
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Description
A quiet, atmospheric scene of passengers on a river boat, captured in the warm, golden light of dusk by Henri-Edmond Cross.
Henri-Edmond Cross, born Henri-Edmond Delacroix, produced this work during a period of transition in his career. Before he fully adopted the systematic pointillist technique associated with his later years, his style remained grounded in the observations of the Impressionist movement. This painting captures a quiet moment of transit, likely on a river boat in Paris. The composition focuses on a small group of passengers, their figures rendered with soft, painterly brushwork that prioritises atmosphere over rigid detail.
The lighting is the primary subject of the piece. The golden, low-hanging sun casts a warm glow across the water and the faces of the figures, creating a contrast with the cooler, shadowed tones of the riverbank in the background. The silhouettes of trees and buildings along the shore are simplified, providing a muted backdrop that allows the foreground figures to occupy the viewer's attention. The man in the dark hat and the woman in the pale dress are positioned in a way that suggests an intimate conversation, while the other figures remain detached, lost in their own thoughts as the boat moves along the water.
Cross was a founding member of the Société des Artistes Indépendants, and his work often explored the intersection of light and colour. In this early piece, the application of paint is more fluid and less fragmented than in his later, more scientific experiments with colour theory. The palette is restrained, relying on ochres, soft pinks, and deep browns to convey the specific quality of light at dusk. This work offers a glimpse into the artist's early technical approach, showing his ability to capture the transient nature of a fleeting moment through careful observation of light and human presence.
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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.
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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
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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
On the River - Henri-Edmond Cross
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Henri Edmond Cross
Cross changed his name twice. He was born Henri-Edmond-Joseph Delacroix in 1856 in Douai, and in 1881 Anglicised it to Cross to avoid confusion with Eugene Delacroix. When another French artist named Henri Cros caused further confusion, he added his middle name and settled on Henri-Edmond Cross. The name was the most decisive thing about his early career.
He trained conventionally, painting in the dark realist manner of Bastien-Lepage and Manet. The conversion to Neo-Impressionism came slowly: he did not adopt the pointillist technique until 1891, years after Seurat and Signac had established the method. Once he committed, he moved south. Diagnosed with rheumatism, he left Paris and settled in Saint-Clair on the Mediterranean coast, where the climate was gentler and the light was entirely different.
The move changed his painting. Working alongside Signac, who had also moved south, Cross developed a second phase of Neo-Impressionism: broader, looser brushstrokes than the granular dots of Parisian pointillism, in colours heated by Mediterranean light. The palette shifted from grey and blue to orange, violet and turquoise. The brushstrokes grew from points to mosaic-like blocks of colour.
The late paintings influenced Matisse directly. When Matisse visited Saint-Tropez in 1904, he saw Cross's work and recognised something he could use: the liberation of colour from description. Fauvism, which Matisse would lead the following year, grew partly from what Cross and Signac were doing on the Mediterranean coast.
Cross died in 1910, aged fifty-three. He spent the last nineteen years of his life painting the same coastline in colours that got more intense with each passing year.
He trained conventionally, painting in the dark realist manner of Bastien-Lepage and Manet. The conversion to Neo-Impressionism came slowly: he did not adopt the pointillist technique until 1891, years after Seurat and Signac had established the method. Once he committed, he moved south. Diagnosed with rheumatism, he left Paris and settled in Saint-Clair on the Mediterranean coast, where the climate was gentler and the light was entirely different.
The move changed his painting. Working alongside Signac, who had also moved south, Cross developed a second phase of Neo-Impressionism: broader, looser brushstrokes than the granular dots of Parisian pointillism, in colours heated by Mediterranean light. The palette shifted from grey and blue to orange, violet and turquoise. The brushstrokes grew from points to mosaic-like blocks of colour.
The late paintings influenced Matisse directly. When Matisse visited Saint-Tropez in 1904, he saw Cross's work and recognised something he could use: the liberation of colour from description. Fauvism, which Matisse would lead the following year, grew partly from what Cross and Signac were doing on the Mediterranean coast.
Cross died in 1910, aged fifty-three. He spent the last nineteen years of his life painting the same coastline in colours that got more intense with each passing year.
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Fine Art Framed
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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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