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Henri Cross, In Den Champs-Elysées

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Henri Cross, In Den Champs-Elysées
Henri Cross, In Den Champs-Elysées
Henri Cross, In Den Champs-Elysées

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Product Information

Artist:

Cross, Henri Edmond
(French, 1856 - 1910)

Materials:

original lithograph printed on China paper

Frame details:

acid-free materials/silk mat

Dimensions:

image size, 8" x 10 1/4";
; sheet size, 10 15/16" x 14 1/2"

Condition:

In excellent condition, with bright, fresh colors, printed on a sheet with wide margins

Care:

Do not hang in direct sunlight.

Please note:

Comes with a certificate of authenticity.

Why We Love This

A brilliant impression of the definitive state from the edition of 1,211 (artist's edition of 36, deluxe edition of 75, standard edition of 1,100) published by Julius Meier-Graefe, Berlin, for the art review Pan, July 31, 1898, vol. IV. no. I, with the publishers letterpress credit line HENRI-EDMOND CROSS, IN DEN CHAMPS-ELYSEES PAN IV I / FNFFARBIGE ORIGINALLITHOGRAPHIE at the lower left edge; printed by Auguste Clot, Paris, 1898. This lithograph is one of just ten color prints in the Pointilist style which exist, eight of them drawn by Signac and two by Henri Edmond Cross.

The concept of Divisionism, Pointillism or Neo-Impressionism, as it was variously called, was founded by a small group of painters intent on replacing the Impressionist painters spontaneous brushwork with formal stability and deliberate application. For this group, led by Georges Seurat, including Henri Edmond Cross and Maximilien Luce, Signac assumed the role of spokesman from the outset, articulating their ideas in his writings while practicing them in his art. The painters were seeking ways to achieve a greater purity and luminosity of color than could be found through mixing pigments. The idea of placing dots of pure color side by side was developed from the color theories of the author Charles Henry (1859-1926), a mathematician-physiologist-psychologist who invented a measurable system of aesthetics that could be applied to sight, sound and smell, as well as to language and emotions, in order to achieve a harmonious balance; his notion that harmony in art would foster social harmony became a central tenet of the philosophy of the Neo-Impressionists. The painters began to use dots of color placed side by side, rather than overpainted or mixed. Cross and Signac then applied the same idea to the use of dots of color in lithography, exploiting the fact that each color is printed separately. As in the paintings, the juxtaposition of colors in this manner as seen here in In den Champs-Elyse created a special quality of visual color effect and light.

Why We Love This

A brilliant impression of the definitive state from the edition of 1,211 (artist's edition of 36, deluxe edition of 75, standard edition of 1,100) published by Julius Meier-Graefe, Berlin, for the art review Pan, July 31, 1898, vol. IV. no. I, with the publishers letterpress credit line HENRI-EDMOND CROSS, IN DEN CHAMPS-ELYSEES PAN IV I / FNFFARBIGE ORIGINALLITHOGRAPHIE at the lower left edge; printed by Auguste Clot, Paris, 1898. This lithograph is one of just ten color prints in the Pointilist style which exist, eight of them drawn by Signac and two by Henri Edmond Cross.

The concept of Divisionism, Pointillism or Neo-Impressionism, as it was variously called, was founded by a small group of painters intent on replacing the Impressionist painters spontaneous brushwork with formal stability and deliberate application. For this group, led by Georges Seurat, including Henri Edmond Cross and Maximilien Luce, Signac assumed the role of spokesman from the outset, articulating their ideas in his writings while practicing them in his art. The painters were seeking ways to achieve a greater purity and luminosity of color than could be found through mixing pigments. The idea of placing dots of pure color side by side was developed from the color theories of the author Charles Henry (1859-1926), a mathematician-physiologist-psychologist who invented a measurable system of aesthetics that could be applied to sight, sound and smell, as well as to language and emotions, in order to achieve a harmonious balance; his notion that harmony in art would foster social harmony became a central tenet of the philosophy of the Neo-Impressionists. The painters began to use dots of color placed side by side, rather than overpainted or mixed. Cross and Signac then applied the same idea to the use of dots of color in lithography, exploiting the fact that each color is printed separately. As in the paintings, the juxtaposition of colors in this manner as seen here in In den Champs-Elyse created a special quality of visual color effect and light.

About the Brand

This work is part of a carefully curated selection by noted fine art expert Jennifer McCloskey, who was formerly affiliated with Doyle Gallery in New York and is now based in San Francisco.