October, 1886 by George Inness
Canvas Print - 2717-ING
Location: Los Angeles County Museum of Art, California, USAOriginal Size: 50.7 x 75.9 cm
Giclée Canvas Print | $50.37 USD
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*Max printing size: 27.2 x 41.3 in
*Max framing size: Long side up to 28"
"October" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "October" by George Inness, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
When first encountering this painting - often labeled "October, 1886" - one is immediately confronted by the puzzle of its date and title. The artist famously paid little attention to labeling his works, and in this instance, it appears that later custodians may have affixed the year and poetic name. Scholars speculate a closer connection to Inness’s art of 1882, partly because its stylistic traits echo those of "June" (Brooklyn Museum), and partly because its structure combines a more advanced compositional approach with a lyrical unity typical of his early 1880s output. Regardless of the precise date, it stands as a quiet testament to the way Inness straddled shifts in American landscape painting during that decade.
The geometry at play is unapologetically rigorous. One notes how the horizon line cuts across the canvas at its midpoint, establishing a balanced interplay between earth and sky. Meanwhile, a slender vertical axis - forged by a gap in the distant tree line and its reflection in the water - subtly reaffirms the painting’s sense of proportion. Repetitive intervals of trees accentuate this rhythmic quality, yet there's deliberate imperfection: the tallest tree on the far right has been trimmed to avoid too clinical a symmetry. Such decisions confirm the artist’s mastery of measured design, even if he resisted the more formulaic tendencies of academic composition.
Technique here becomes a bridge between tranquil realism and something more intimate. Inness enlists a delicate, almost feathery brushstroke that dissolves hard edges, particularly noticeable in the cloud-filled sky. Though the foreground's pond gleams with gentle reflections, he doesn't indulge in meticulous detail, choosing instead to suggest shifting light and ambiance. It's a slow, understated style that invites the viewer to contemplate the scene’s mood rather than chase fine outlines.
This subdued approach extends to color. A tapestry of greens, golds, and soft blues imbues the canvas with a reflective ambiance. Autumnal foliage glimmers discreetly against the sweeping sky, and the water below seems to absorb these hues into a calm mirror of nature. The overall effect is a harmonious, measured meditation on landscape - one that underscores the artist’s leaning toward emotional depth over overt drama. His refusal to adhere strictly to conventional labels, both in art and in life, finds a visual equivalent in the painting’s quietly balanced form.
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