About this finishing
Print. The image is printed on the top quality 10-ink HP Z9PS printer on HP matte 270 g / m2 paper. You can choose any size to an accuracy of 1 cm. A margin of 5 cm around the image is added to the size of the motif.


You can find a detailed description about our finishings
here.
Madame Manet (Suzanne Leenhoff, 1830-1906) in Bellevue
Date:
1880Medium:
oil on canvasDimensions:
80.6 x 60.3This painting shows a woman sitting outside in a green environment. She is dressed in an elegant light beige gown and wearing a wide hat with a black ribbon on her head. The woman has her back to the viewer and her gaze turned to the side so that her face is not fully visible. The painting is painted in an impressionist style with strong brushstrokes and dynamic use of colour to create a sense of vibrancy and movement. The predominant colors are the various shades of green in the background and the warm tones on the woman's clothing.
This description was created by artificial intelligence, please be indulgent.
Manet painted picture Madame Manet (Suzanne Leenhoff, 1830-1906) in Bellevue in 1880. Prevailing color of this fine art print is green and its shape is portrait. Original size is 80.6 x 60.3. This image is printed on demand - you can choose material, size and finishing.
Édouard Manet (1832-1883). French
Impressionist painter. He perhaps had the misfortune of starting at a time when the pendulum of history was deviating from traditional academic painting and Impressionism: for his generational peers, he was too progressive and for young painters, he was too traditional. Manet had an innovative spirit that, during his study of old masters (such as
Diego Velázquez), he complemented with an excellent painting technique. From the Impressionists, he took a penchant for displaying reality using long expressive brush strokes, studying objects in the open air, and concentrating on working with light and colour. Unlike the Impressionists, however, he did not give up black colours, contours and classical composition. In fact, he did not even want to be associated with the Impressionists – he wanted his paintings to be included independently in Salon exhibitions and avoided the label of
Impressionism.