Marie Firmin-Girard Hand Numbered Limited Edition Print on Paper :"Le Jardin de la Marraine"
Title: Le Jardin de la Marraine
Dimensions (W x H ): Paper Size: 20 x 28 in | Image Size: 16 x 24 in
Edition | Medium: Each print is hand numbered, accompanied by a certificate signed by the Master Printer and is numbered to match the print. The editions are limited to 1880 copies. |
This Gouttelette print on paper is published with light-fast inks to BS1006 Standard onto acid-free calcium carbonate buffered stock, mould-made from 100% cotton and sourced from environmentally conscious paper suppliers. This product is exclusive to Rosenstiels.
About the Art: Superior Edition
About the Artist:
Firmin-Girard entered the Ecole des Beaux-Arts at the tender age of 16 before continuing his studies at Gleyre’s atelier. He made his debut at the Paris Salon at the age of 21 where his choice of exhibits showed him to be a talented young man, however as yet to find a defining style. He had the distinction of having three paintings accepted, but they were unusually diverse: a genre scene; a historical work; and that perennial religious subject, a Saint Sebastian. Two years later, at the Salon of 1861, his classical painting, La Mort de Priamus, won the second Prix de Rome.
Following this success two years later his first major contemporary genre scene, Après le bal, was awarded a third class medal. In many ways an ambitious young artist like Firmin-Girard might have been disappointed not to receive a higher grade of medal, but the picture was purchased by Princesse Mathilde, probably the single most influential collector in Paris at the time.
The commissions flooded in and from his studio in the Boulevard Clichy he produced a wide variety of subjects: portraits, landscapes and still lifes but most of all his elegant scenes from contemporary life. His paintings remained popular until well into this century, for though his subjects were those of academic art of the second half of the 19th century, his bright, clear palette shows an affinity with the Impressionists. Meanwhile his distinctively short, almost stippled brush strokes produce surface textures quite unlike the smooth glossy surfaces of the diehard academics.
