Tree Paintings On Canvas For Sale
Famous Tree Prints For Sale
- Almond Blossoms by Vincent van Gogh
- Morning in a Pine Forest by Ivan Shishkin and Konstantin Savitsky
- Avenue of Schloss Kammer Park by Gustav Klimt
- Gray Tree by Piet Mondrian
- Rose Bushes Under Trees by Gustav Klimt
- The Olive Trees by Vincent van Gogh
Almond Blossoms is a collection of paintings of blossoming almond trees painted by Vincent van Gogh in Arles and Saint-Rémy, southern France, between 1888 and 1890. Van Gogh was particularly fond of flowering trees. They symbolized rebirth and hope.
He liked the way they looked and enjoyed drawing blossoming trees. Impressionism, Divisionism, and Japanese woodcuts all influenced the pieces. Almond Blossom was created to commemorate the birth of his nephew and namesake, Theo, and his sister-in-law Jo's baby. Van Gogh painted the Almond Blossom not to rekindle his hope, but to make a gift to his ever-caring brother.
Theo married Jo Bonger in spring 1889, and she gave birth to their son in February 1890, whom they called Vincent after the boy's godfather. Van Gogh's Blossoming Almond Tree was a gift to the child who would bear his name. He'd never seen the brilliant buds up close before, and he'd never lavished such color on the gorgeous blossoms. The painting's message of optimism is intertwined with human existence and future visions. It isn't utopian; rather, the painting's core theme is longing. And it's not even a recollection of Aries; rather, it's a celebration of family life, which Vincent, the godfather, suddenly felt a part of once more.
Russian artists Ivan Shishkin and Konstantin Savitsky created the picture Morning in a Pine Forest. Shishkin is thought to have painted the pine trees in Narva-Jesuu in Estonia, where he spent several summers. This is arguably Ivan Shishkin's most well-known painting.
When Vincent Van Gogh was a resident of the Saint Paul de Mausole institution in Saint Remy de Provence, France, he painted Olive Trees With Yellow Sky And Sun. After just recovering from an illness, he felt ready to walk outside and take in the scenery.
He set up his canvas and easel close outside the asylum's walls in November of 1889. A lovely panorama of olive trees awaited him as if beckoning him to paint it. His plan was to create an abstract picture of the olive grove that would serve as a solid basis for the coming year. He created five different variants, each with a different color scheme, angle, and shape.
The Olive Grove Pink Sky was the first, and the Olive Grove with Pale Blue Sky was the second. Olive Pickers-Orange Sky and Olive Grove-Orange Sky were the other two paintings that shared some characteristics with this one. A hot and beautiful afternoon is depicted in the artwork Olive Trees with Yellow Sky and Sun. At the top of the canvas, there is a yellow sky with a sun. The lavender and violet Alpilles Mountains, hidden amid green-shaded olive trees, are visible beneath the sky. A ochre and orange ground rests at the bottom, with a lavender shadow right below each tree. The trees' shadows appear to be off-kilter with the sun.
The painting of Christ in the Olive Garden by Gauguin and Bernard inspired Vincent to paint the olive trees. He believed that their natural works of art had no meaningful message and were simply an act of dreaming rather than thinking. He wanted to paint the olive trees in a different light after his outrage over the picture of Christ in the Olive Garden. During his stay in the asylum, he discovered that olive trees, like willows in his native land, were revered in Saint Remy, which is why he opted to work with them.
Vincent addressed letters to his friend Emile Bernard, as well as his siblings Theo and Willemien Van Gogh, in November of 1889, telling them about his five renditions of the Olive Grove. Vincent Van Gogh spent four and a half months in Saint Remy before moving to Auvers, where he died three months later. Van Gogh's painting Olive Trees with Yellow Sky and Sun is a masterpiece and a testament to his legacy. Undergrowth with Two Figures by Vincent van Gogh.
Van Gogh discussed the structure and dazzling colors of "Undergrowth with Two Figures" in a letter to his younger brother Theo dated June 30, 1890: “The violet poplar trunks divide the terrain perpendicularly like columns,” says the author, adding that “the depth of Sous Bois is blue, and the grass blossoms with flowers in white, rose, yellow, and green under the large trunks.”
Two lovers, hidden among the lush carpet of grass and flowers and the profusion of thin tree trunks, reaffirm the topic of nature's fullness. The silvery tonality of "Undergrowth with Two Figures" is typical of van Gogh's Auvers paintings.
His brushwork is quick and visceral, his colors are bold and cutting, and his emotion is raw and evident, but the composition bears no traces of mental anguish. It's painted on a canvas that's twice as wide as it is tall. In some of his final paintings, Van Gogh explored the aesthetic possibilities of the panoramic format.
Klimt had spent the summer at a cottage in Salzkammergut, Austria, exploring the tranquil greenery of the area and the peaceful life of the community. Klimt was given the freedom to experiment with his skills, apart from his peers, and develop a distinct style from what he was used to. Klimt took use of the opportunity to reintroduce the scenery around him in a new light, changing items into new shapes using a mosaic method of art.
The artist uses a cool color palette, with blue and green leaves growing off the tree trunk and meshing together within the canopy. Green tones shape the structure of the trees, with teal blue colors highlighting its form. The grass on the painting's surface is depicted in a similar color scheme, with a linear soft brushstroke highlighting each one. As if it were a mirror of the canopy above, the cobblestone on the artwork continues the mosaic pattern in tones of green and blue. The painting's background is a lovely yellow structure that depicts typical Victorian architecture at the period.
An orange-red roof and English-styled windows compliment the structure. As the painting approaches the end of Klimt's career, he departs from his usual art nouveau manner in favor of a modernist approach that was gaining trendy at the time. The style is realism-inspired, with mosaic forms incorporated throughout the trees. Klimt's preference for paintings of people and still life allowed him to experiment with new techniques and establish his style as the waves of modernity swept through the art world.
Klimt's work has shifted from portraits and paintings with allegory and symbolism to landscape paintings that celebrated the beauty of the world around him. The Avenue of Schloss Kammer Park evokes a serene feeling as if the observer is immersed in the picture, wandering through the park on a hot summer day.
The piece's structured line of trees, accompanied by the elegant building in the distance, expresses civilization. As the canopy of the trees softly meshes together, covering the sky, the visitor can see a peek of Klimt's distinctive deliberately placed swirls.
The artist chose those specific trees for their aesthetic appeal because of how they intertwine and create structure and patterns. The painting is a pivotal piece in Klimt's career, combining his various styles and techniques as he experiments with a new approach.
Gray Tree is one of Piet Mondrian's most famous paintings, and one of a series of evocative renderings of trees that he created over several years in the early twentieth century. It was painted on canvas in 1911 when he was first experimenting with cubism.
This painting was one of Mondrian's first attempts to apply the theory of cubic composition to natural subjects. This was also part of a series on the subject of trees.
The Red Tree was the first tree in the series, which began in 1908. Despite the fact that the tree series images were created over a period of many years, it would be a mistake not to consider the two paintings as a unified evolution. The foreground and background are mixed together in this picture, which has a limited palette.
The tree has a somewhat oval shape, and it is inspired by the work of other artists such as Pablo Picasso. Flowering Apple Tree, a similar piece of art in 1912 with a similar composition, as well as Flowering Trees from the same year, followed a similar painting feature. The sole difference is that the tree's outline is more faceted and abstract.
The painting's three-dimensional tree has been reduced to planes and lines. This is achieved by using only a few greys and blacks. This artwork is part of a series depicting trees in their natural habitat. The lines of trees are shortened in later paintings until they are hardly undetectable. The horizontal and vertical lines are the main depiction in these latter works, which have become secondary to the overall composition. There is still an illusion regarding the tree in this artwork because it appears more real.
Mondrian's concern in eliminating the conventional organization and structure of lines can be seen if one looks closely. Mondrian's development of his abstract style of painting was aided by this stage.
Rose Bushes Under Trees - The painting's brilliance is enhanced by the variety of colors and forms, which fill the canvas with shine and glare. Gustav Klimt, the artist behind the painting, had spent his summer in the countryside, capturing all of nature's subtleties to represent in his work. The majority of Klimt's impressionist landscape paintings were created during the artist's summer vacations to Litzlberg and Lake Attersee in 1904 and 1905.
The canvas is covered in a rainbow of colors and shapes, putting the surroundings in a new light. Small circular brush strokes were utilized to create a mosaic pattern in the artist's work, which he is most known for during his golden era.
The Kiss, Tree of Life, and Adele Bloch-Bauer are just a handful of these iconic paintings. Klimt's impressionist approach is evident in the oval leaves, grass, and fruit created by his soft brush technique. While the picture has a postmodern vibe to it, the viewer can see that Klimt's landscape paintings have a more classic style to them. Small brush strokes angled in different directions are skillfully placed throughout the painting.
The brush strokes give a decorative element to the work, while the landscape piece demonstrates the artist's trademark mosaic approach. The dabs of color scattered across the canvas give it an abstract, visually engaging, and living vibe. The landscape is flattened by this style, which is focused mostly on the diversity of colors and forms throughout the composition. Underneath the tree, the artist displays a meadow in various tones of light to dark green.
To show depth inside the grass, a small sliver of turquoise and azure is added to the canvas. Despite the wide range of colors employed on the meadow, the work's aesthetic remains flat. To depict little flowers covering the plain, the artist adds small dabs of yellow mixed with salad green. Gustav Klimt's landscape painting has a similar vibe to Blooming Field, Apple Tree I, and Farm Garden With Crucifix, among his other works. While the color scheme in these paintings is colder, the basic dabbing sponge method is visible in all of them.
Throughout his career, the artist lived in Vienna, Austria, but spent his summers in the countryside, surrounded by nature. The artist was motivated by his new surroundings to begin creating landscapes in a mosaic style rather than the prevailing realist method of the period. Rose Bushes Under Trees creates a cluster of color by weaving its way among the tree's leaves. The work was set in a mosaic format, with Klimt's brush technique delicately dabbing across the canvas in different directions to achieve this abstract impression.
The patchwork is a defining feature of Klimt's style, which will evolve to include gold and bronze tones in his portraits. The circular tree is coated in colors of green and blue as the foundation color. A lavender-colored purple highlights the foliage, adding a splash of color to the turquoise color scheme. The artist depicts pears by showing pale green bigger specs across the leaves.
The tree's structure and style are similar to Klimt's other picture, Pear Tree, which also features abstract color. The artist was particularly concerned with developing his own style of landscape art by borrowing techniques from other artists at the period as the impressionist style grew in popularity. Klimt created his own individuality in the landscape era by combining his knowledge of French Art Nouveau painting styles, ornamental methods, and bright colors.
The violent heaving motion of Van Gogh's passion permeates the entire area - earth, trees, mountains, clouds. It's more powerful and imaginative than later Expressionist work, which was inspired by a similar, emotionally charged picture of nature. It's also more grounded in reality because, despite the widespread movement that appears to emanate from an underlying force, all things preserve their individuality and distinct rhythms.
The distinct nature of each horizontal zone of this tumultuous work prevents the picture from succumbing to the monotony of disorder that so frequently arises from an artist's immersion in pure emotion. A wraithlike mother and child can be seen in the visionary cloud, which has blue and yellow streaks and a wavy outline that is somewhat organic; a ruined castle can be seen in the bizarre craggy silhouette of the mountain with the pierced stone bulk.
There are new types of immense power on the horizon. The color has an ordered variation that is striking in its freshness: the light cloud against the cold greenish-blue sky; below, the warmer, lighter greens of the olive trees against the dark blue of the mountains; and in the lower half of the work, the churning sea of the earth with coiling bands of light and shadow, yellow, blue, and green.
The depth of the hollows, in addition to the exceptional length of the wavy lines - Van Gogh compared the lines to those of antique woodcuts - is a distinguishing feature of the drawing. The environment, which appears to be overbearing in its continuous movement at first glance, offers a surprising spectrum of attributes for further meditation: The bland uniformity of the sky hue and the ferocious changing contrasts of the space below; the furious storm of the brush strokes in the trees and the rhythmical waviness and clarity of the mountains; the uniform local color of the sky, mountains, and trees and the wild mottling of the earth from the distant cloud to the dirt beneath the olive trees, there is a pervasive brilliance in all of them.