George Caleb Bingham, 1845 - Fur Traders Descending the Missouri - fine art print
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"Fur Traders Descending the Missouri" is an artwork by the painter George Caleb Bingham in 1845. The original creation has the following size: 29 x 36 1/2 in (73,7 x 92,7 cm) and was painted with the medium oil on canvas. Today, the artwork can be viewed in in the The Metropolitan Museum of Art's digital art collection. With courtesy of - The Metropolitan Museum of Art, New York, Morris K. Jesup Fund, 1933 (public domain). Besides, the work of art has the creditline: Morris K. Jesup Fund, 1933. Furthermore, alignment of the digital reproduction is in landscape format and has a ratio of 1.2 : 1, meaning that the length is 20% longer than the width. George Caleb Bingham was a male politician, painter, university teacher from United States, whose artistic style can be classified as Romanticism. The American artist was born in the year 1811 in Augusta county, Virginia, United States, county and passed away at the age of 68 in the year 1879 in Kansas City, Jackson county, Missouri, United States.
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For every fine art print we offer a range of different sizes & materials. Select your preferred size and material among the options:
- Poster print (canvas material): The poster is a UV printed sheet of canvas paper with a nice finish on the surface. It is suited for placing the fine art print in a custom-made frame. Please keep in mind, that depending on the absolute size of the poster we add a white margin of something between 2 - 6cm round about the print motif, which facilitates the framing with your custom frame.
- Canvas: A canvas print is a printed cotton canvas stretched on a wooden frame. The great advantage of canvas prints is that they are relatively low in weight, meaning that it is easy and straightforward to hang up the Canvas print without extra wall-mounts. Hence, canvas prints are suited for all kinds of walls.
- Metal print (aluminium dibond): Aluminium Dibond prints are metal prints with a true depth. For our Aluminium Dibond print, we print your selected artwork onto the aluminium composite surface. The colors of the print are bright and vivid, details are crisp, and you can perceive a matte appearance of the print.
- Acrylic glass print: The print on acrylic glass, which is often referenced as a plexiglass print, will change your favorite original artwork into brilliant décor. With an acrylic glass art print contrasts plus small color details become more identifiable with the help of the granular tonal gradation in the picture.
Important legal note: We try to describe our art products as accurate as possible and to demonstrate them visually in our shop. However, some pigments of the print materials, as well as the printing might differ marginally from the image on the screen. Depending on the screen settings and the condition of the surface, not all color pigments are printed 100% realistically. In view of the fact that our are printed and processed by hand, there may also be slight differences in the exact position and the size of the motif.
|Article type:||fine art reproduction|
|Method of reproduction:||reproduction in digital format|
|Manufaturing technique:||UV print / digital printing|
|Origin of the product:||Germany|
|Stock type:||on demand production|
|Proposed product use:||art print gallery, wall decoration|
|Alignment of the image:||landscape format|
|Image aspect ratio:||1.2 : 1 (length : width)|
|Image ratio meaning:||the length is 20% longer than the width|
|Material options:||metal print (aluminium dibond), acrylic glass print (with real glass coating), poster print (canvas paper), canvas print|
|Canvas on stretcher frame (canvas print) sizes:||60x50cm - 24x20", 120x100cm - 47x39", 180x150cm - 71x59"|
|Acrylic glass print (with real glass coating) size variants:||60x50cm - 24x20", 120x100cm - 47x39", 180x150cm - 71x59"|
|Poster print (canvas paper) options:||60x50cm - 24x20", 120x100cm - 47x39"|
|Aluminium print variants:||60x50cm - 24x20", 120x100cm - 47x39"|
|Picture frame:||not available|
Background data about the unique work of art
|Artwork title:||"Fur Traders Descending the Missouri"|
|Categorization of the work of art:||painting|
|General category:||modern art|
|Created in the year:||1845|
|Age of artwork:||around 170 years|
|Original medium of artwork:||oil on canvas|
|Original size (artwork):||29 x 36 1/2 in (73,7 x 92,7 cm)|
|Museum / collection:||The Metropolitan Museum of Art|
|Place of the museum:||New York City, New York, United States of America|
|Museum's webpage:||The Metropolitan Museum of Art|
|License type:||public domain|
|Courtesy of:||The Metropolitan Museum of Art, New York, Morris K. Jesup Fund, 1933|
|Artwork creditline:||Morris K. Jesup Fund, 1933|
|Artist name:||George Caleb Bingham|
|Aliases:||Bingham George Caleb, Bingham G. C., George Caleb Bingham|
|Nationality of artist:||American|
|Professions:||politician, painter, university teacher|
|Country of origin:||United States|
|Classification of the artist:||modern artist|
|Styles of the artist:||Romanticism|
|Year of birth:||1811|
|Birthplace:||Augusta county, Virginia, United States, county|
|Place of death:||Kansas City, Jackson county, Missouri, United States|
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Original information about the work of art from The Metropolitan Museum of Art website (© Copyright - The Metropolitan Museum of Art - The Metropolitan Museum of Art)
On June 4, 1845, Bingham returned from a winter stay in central Missouri to St. Louis, bringing with him several paintings and many sketches. This apparently was one of the pictures that he brought with him, and he sent it later that year for sale to the American Art-Union. It was first called "French Trader & Half breed Son," but the Art-Union gave it the title by which it is now known. Bingham, whose earliest efforts were portraits, produced a masterpiece of genre painting with little precedent in his oeuvre. The strikingly spare, geometric composition and luminist light recall the paintings of William Sidney Mount, particularly his "Eel Spearing at Setauket" (New York State Historical Association, Cooperstown). The solemn, motionless scene immortalizes the vanished world of the American frontier, constructed for a northeastern audience. The tranquil work was submitted to the Art-Union as a possible companion to the more implicitly violent "The Concealed Enemy" (Stark Museum of Art, Orange, Texas), in which an armed Osage warrior lies in wait behind a boulder. The polar opposition of quietude, savagery, and frontier danger embodied in the paintings held enormous appeal for urban viewers. Bingham painted a similar, though less extraordinary, picture called "The Trapper's Return" (Detroit Institute of Arts) in New York in 1851.