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Sur La Terrasse
Signed original lithograph.
From the edition of circa. 75.
By 1919, Nevinson had declared his separation from Futurism and its ideals after being a strong proponent of the movement in London. Although this lithograph is more naturalistic than some of Nevinson’s earlier works, echoes of a Futuristic aesthetic can be identified in the artist’s depiction of light cascading across the angular panes of figures in the crowd.
The image also highlights Nevinson’s interest in Expressionism, as the faces in the crowd verge on carnivalesque masks.
From the edition of circa. 75.
By 1919, Nevinson had declared his separation from Futurism and its ideals after being a strong proponent of the movement in London. Although this lithograph is more naturalistic than some of Nevinson’s earlier works, echoes of a Futuristic aesthetic can be identified in the artist’s depiction of light cascading across the angular panes of figures in the crowd.
The image also highlights Nevinson’s interest in Expressionism, as the faces in the crowd verge on carnivalesque masks.
$14,504.91
Original: $41,442.60
-65%Sur La Terrasse—
$41,442.60
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Description
Signed original lithograph.
From the edition of circa. 75.
By 1919, Nevinson had declared his separation from Futurism and its ideals after being a strong proponent of the movement in London. Although this lithograph is more naturalistic than some of Nevinson’s earlier works, echoes of a Futuristic aesthetic can be identified in the artist’s depiction of light cascading across the angular panes of figures in the crowd.
The image also highlights Nevinson’s interest in Expressionism, as the faces in the crowd verge on carnivalesque masks.
From the edition of circa. 75.
By 1919, Nevinson had declared his separation from Futurism and its ideals after being a strong proponent of the movement in London. Although this lithograph is more naturalistic than some of Nevinson’s earlier works, echoes of a Futuristic aesthetic can be identified in the artist’s depiction of light cascading across the angular panes of figures in the crowd.
The image also highlights Nevinson’s interest in Expressionism, as the faces in the crowd verge on carnivalesque masks.
