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.
Perrette - Albert Pinkham Ryder
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 moody, atmospheric oil painting by Albert Pinkham Ryder, capturing a solitary figure in a dreamlike, golden light.
Albert Pinkham Ryder, a singular figure in American art, produced works defined by their moody, atmospheric qualities and heavy impasto. Perrette is a characteristic example of his approach, where the subject matter is secondary to the creation of a dreamlike, internalised vision. The painting draws from the fable of the milkmaid, yet Ryder strips away narrative detail to focus on the solitary figure against a darkened, ambiguous background.
Ryder was known for his unconventional technique, often applying layer upon layer of paint and varnish over many years. This process resulted in a surface that possesses a unique, tactile quality, with colours that seem to glow from within the depths of the canvas. In this work, the figure of Perrette is illuminated by a golden, ethereal light, which contrasts sharply with the deep, murky shadows surrounding her. The composition is simplified, almost sculptural, with the figure and the vessel she carries forming a vertical axis that anchors the scene.
Unlike his contemporaries who pursued realism or impressionistic light, Ryder sought to capture the essence of a mood or a memory. His palette is restricted, favouring ochres, deep browns, and blacks, which contribute to the sense of mystery that permeates his body of work. The paint application is thick and expressive, showing the artist's hand in every stroke. This print captures the texture of the original oil surface, allowing the viewer to appreciate the way Ryder manipulated light and shadow to create a sense of psychological weight. It is a work that invites quiet contemplation, reflecting the artist's preference for solitude and his rejection of the academic standards of his time.
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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
Complete The Look
Perrette - Albert Pinkham Ryder
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Albert Pinkham Ryder
Albert Pinkham Ryder refused to go out during daylight. Believing sunlight would damage his eyes, he roamed New York's streets at night instead, returning to a studio that contemporaries described as extraordinary in its disorder: papers, milk bottles, ashes, and dead mice piled waist-high, the floor used for sleeping to avoid bedbugs. His own summation of his philosophy was characteristically concise: the artist must live to paint, not paint to live.
Born in New Bedford, Massachusetts in 1847, Ryder came from a whaling port, and the sea informed his work throughout. He moved to New York in 1867 to study at the National Academy of Arts, but by the early 1880s had abandoned any interest in accurate description. His subject was emotional truth, rendered through moonlit water, simplified forms, and figures drawn from literature rather than observation. Poe, Chaucer, and maritime legend supplied him with imagery; what mattered, in his own view, was not that a storm cloud was accurate in colour but that the storm itself was present in the picture.
The technical consequences of this method were severe. He built canvases up slowly and obsessively, applying paint over wet underlayers and returning to pictures across months or years, reportedly incorporating unconventional materials including candle wax. All approximately 150 canvases he produced are now significantly cracked, and colours that contemporaries compared to precious stones have largely faded. Jonah (c.1885, 69.2 x 87.3 cm) and Flying Dutchman (c.1887, 36.1 x 43.8 cm), both at the Smithsonian American Art Museum, are among his best-known works. Arthur Dove, Marsden Hartley, and Jackson Pollock all acknowledged his influence.
Born in New Bedford, Massachusetts in 1847, Ryder came from a whaling port, and the sea informed his work throughout. He moved to New York in 1867 to study at the National Academy of Arts, but by the early 1880s had abandoned any interest in accurate description. His subject was emotional truth, rendered through moonlit water, simplified forms, and figures drawn from literature rather than observation. Poe, Chaucer, and maritime legend supplied him with imagery; what mattered, in his own view, was not that a storm cloud was accurate in colour but that the storm itself was present in the picture.
The technical consequences of this method were severe. He built canvases up slowly and obsessively, applying paint over wet underlayers and returning to pictures across months or years, reportedly incorporating unconventional materials including candle wax. All approximately 150 canvases he produced are now significantly cracked, and colours that contemporaries compared to precious stones have largely faded. Jonah (c.1885, 69.2 x 87.3 cm) and Flying Dutchman (c.1887, 36.1 x 43.8 cm), both at the Smithsonian American Art Museum, are among his best-known works. Arthur Dove, Marsden Hartley, and Jackson Pollock all acknowledged his influence.
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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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