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.
Sketchbook Pages (Studies of Figures and Coastal View) - Henri-Edmond Cross
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 collection of intimate sketches by Henri-Edmond Cross, featuring watercolour coastal studies and crayon drawings of figures at work.
This collection of sketches provides a rare glimpse into the working methods of Henri-Edmond Cross, a primary figure in the Neo-Impressionist movement. The triptych-like arrangement captures the artist's dual focus on atmospheric observation and the practicalities of daily life in the South of France. On the left, a watercolour study demonstrates his sensitivity to light, with soft washes of violet and amber depicting a coastal vista at dusk. The palette reflects his transition from the strict pointillist technique of his earlier career toward a more fluid, expressive application of colour.
The central and right panels shift to observational studies of figures engaged in manual labour. These drawings, executed in crayon, show workers on ladders, likely tending to vines or maintaining a terrace. The lines are quick and functional, prioritising the capture of movement and posture over anatomical precision. Cross uses the paper's surface to suggest the structure of the scaffolding and the weight of the figures, while brief handwritten annotations provide context to the scenes. These pages reveal the artist's habit of recording his immediate surroundings, whether through the fleeting colours of a sunset or the rhythmic actions of local workers.
As a Neo-Impressionist, Cross was interested in the optical effects of colour, yet these sketches show a more personal, immediate side of his practice. They lack the formal rigour of his large-scale canvases, offering instead an intimate record of his visual research. The combination of delicate watercolour washes and energetic crayon marks illustrates his versatility as a draughtsman. This print preserves the raw quality of the original sketchbook, allowing for an appreciation of the artist's hand and his process of visual notation.
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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
- Framed prints arrive ready to hang
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- Dust gently with a soft, dry cloth
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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
Sketchbook Pages (Studies of Figures and Coastal View) - Henri-Edmond Cross
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 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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