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FRAMING INFORMATION
1st Art Gallery offers the option to receive your painting ready to hang or rolled in a tube.
Currently, for safety, we're able to ship framed paintings only up to a certain size. Once the maximum size is reached, the framing option is automatically disabled.
However, if you are interested in stretching or framing a painting larger than 24x36 inches (60x90 cm), please contact one of our customer success associates or let us know in your order notes. We will send you a catalog of our large framing styles and pricing options.
Unframed rolled canvas orders will arrive rolled inside a protective tube with an extra 1.5" white canvas on all sides so you can easily frame it locally.
In the latter days of his artistic career, Thomas Moran took to following two distinct line with his work. On the one hand, he kept improving his technique and producing increasingly dramatic and awe-inspiring renditions of his usual subject matters, like the Grand Canyon, Yellowstone Park, and Venice, from the great wealth of sketches, pictures and fond memories he had amassed throughout his long and successful career. On the other, he would also paint landscapes that were close to him, but experimenting with different ways of working with light, shape and eventually even composition.
Painted in 1909, this oil on canvas belongs to the latter category, bearing some details that lead the observer to the conclusion that, even having reached the height of fame, Moran was still avidly looking to improve and add to his style. Unsurprisingly so, many of his experimentations follow in the footsteps of what was previously attempted by J. W. M. Turner, the painter of light, for whom Moran had deep admiration and who had always served as inspiration and reference for Moran’s work with landscapes.
Here, we have Moran depicting a bucolic vista of a trail through the countryside leading towards the sea, where an orange sun sets on deep blue waters. On the trail, a fisherman returns home with the day’s catch slung over his shoulder. There are no indications of an exact location for the scene, but, considering that the sun is setting on the sea, it would have to be on the West Coast, which leads one to think that Moran was depicting here the area around Santa Barbara, California, where he lived with his family for many years.
That being said, two main aspects of this piece should pique the observer’s interest. Firstly, the variety of visually distinct vegetation in the composition, as if Moran wanted to showcase not only the American biodiversity but his skill at composing a beautiful scene with a mix and match of different leaves and blades.
Second, and perhaps more importantly, is the sunset. If one was to observe Moran’s body of work, it is noticeable that here he departs from his usual technique in depicting the eventide. In fact, the sunset in this painting is aesthetically closer to Turner’s style than to the Hudson River School, which says much about Moran’s stylistic priorities.
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Important Notes About Your Painting:
If you have any request to alter your reproduction of A Late Afternoon In Summer, you must email us after placing your order and we'll have an artist contact you. If you have another image of A Late Afternoon In Summer that you would like the artist to work from, please include it as an attachment. Otherwise, we will reproduce the above image for you exactly as it is.
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