George Caleb Bingham

romanticism

Paintings Reproductions Bingham, George Caleb Fur Traders Descending the Missouri, 1845

Bingham Paintings 1811 - 1879 American painter (b. 1811, Augusta County, d. 1879, Kansas City)

Fur Traders Descending the Missouri, 1845

Oil on canvas, 29 1/8 x 36 1/8 inches (74 x 92 cm)

Metropolitan Museum of Art, Manhattan, New York

Figurative Art

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Choose from these available sizes

painting: BGH002 size: 24x29 inches price: $850 add to cart

painting:BGH002B size II: 29x36 inches price: $985 add to cart

Time needed to complete and deliver your order depends on the volume and complexity of the paintings and we keep you informed about the stage of completion throughout the process.

The painter usually needs 3-4 weeks to achieve the highest quality of the reproduction and get it dry for shipping.

Fur Traders Descending the Missouri, 1845 by George Caleb Bingham is entirely handmade without use of artificial methods. It is painted on linen canvas with oil paints of the highest French quality.

We are professional graduates of art schools, which gives us the opportunity to reproduce to the highest point of perfection the style and technique of the original old master. With more than 20 years of experience and thousands of satisfied customers our oil reproductions are the best, always bearing the full spirit of the original.

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OIL PAINTING: Fur Traders Descending the Missouri, 1845
Bingham was a specialist in subjects drawn from the American countryside, particularly life on the frontier. In this masterpiece of American genre painting, a unique document of river life in the Midwest, he has depicted a moment in the life of a French-Canadian fur trader, one of the voyageurs who combined commerce with exploration and adopted many ways of the wild. Bingham has raised anecdote to the level of poetic drama by setting up a tension between the suspicious stare of the old trader, the unconcerned reverie of his sprawling half Indian son, and the compact, enigmatic silhouette of a tethered bear cub. Parallel planes recede into the distant background, suggesting that Bingham was familiar with engravings of European paintings, yet the strict formality is softened by an exquisite luminosity.