At the Cemetery in Thun by August Macke, 1914
Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata nel nostro laboratorio di Londra dall’opera originale del 1914 e stampata in qualità museale. Descrizione completa
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Scegli due opere idonee e ricevi il 20% di sconto su entrambe. Scegline tre e quella al prezzo più basso è in omaggio, con un risparmio massimo del 33%.
Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
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Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata dall’opera originale del 1914 e stampata in qualità museale. Descrizione completa
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August Macke’s Auf dem Friedhof von Thun (At the Cemetery in Thun), painted in 1914, turns a quiet cemetery encounter into a...
Continua a leggereAugust Macke’s Auf dem Friedhof von Thun (At the Cemetery in Thun), painted in 1914, turns a quiet cemetery encounter into a closely woven arrangement of figures, trees and luminous colour. Two people stand together in the central foreground, their warm reds and muted browns set against cooler passages of blue and green. Rather than describing the site through meticulous detail, Macke constructs it from overlapping planes and rhythmic, simplified shapes, allowing the solemnity of the setting to coexist with an unexpectedly vivid surface.
Macke was a leading figure in German Expressionism and closely associated with Der Blaue Reiter, the Munich-based avant-garde circle that sought new expressive possibilities in colour and form. His paintings are often less anguished than the term Expressionism might suggest: familiar urban, garden and leisure scenes become ordered harmonies in which observation is distilled rather than abandoned. Here, the cemetery remains recognisable as a place of reflection, yet it is also transformed into a modern composition whose emotional register emerges through colour, spatial compression and the relationship between human and natural forms.
A closer look
The two foreground figures provide the painting’s principal point of concentration. Positioned close together, they appear either to embrace or to converse intimately; Macke leaves the precise nature of their interaction open. Their bodies are built from relatively geometric blocks, while their arms contain layered russets, browns and softened reds. This warmth distinguishes them from the surrounding landscape and gives the pair a physical presence amid the more fluid forms of the cemetery.
Above and behind them, stylised trees rise through the upper half of the composition. Their trunks establish a loose vertical structure, while rounded clusters of green foliage interrupt it with a more playful rhythm. Blues and greens mingle in the distance, suggesting further vegetation and open air without sharply separating one element from another. The space is therefore created less by conventional perspective than by overlap, variations in saturation and the gradual cooling of colour as the scene recedes.
The lower portion is especially active. Irregular polygons and fragmented darker forms press towards the edge, giving the ground an almost faceted appearance. A concentrated patch of red at the lower left balances the warmer figures, while the lower right is weighted by deeper, less clearly defined shapes. Across the painting, visible brushwork and small glimpses of underlying colour keep the surface in motion. Even passages that initially seem calm reveal a lively exchange between angular human forms and the softer contours of leaves, trunks and distant landscape.
Context and significance
Created in the year the First World War began, Auf dem Friedhof von Thun belongs to the final phase of Macke’s brief career. He was killed in 1914 while serving in the German army, aged twenty-seven. Knowledge of that chronology inevitably lends the cemetery subject an added poignancy for later viewers, although the painting itself should not be reduced to a premonition. Its mood is poised rather than overtly mournful, and its strongest effects remain formal: the balance of warm and cool colour, the gentle compression of depth and the intimacy of the two figures.
The painting demonstrates Macke’s distinctive ability to reconcile avant-garde simplification with the recognisable world. Nothing is rendered with documentary precision, yet the scene retains a convincing sense of human scale and outdoor atmosphere. Its enduring fascination lies in that balance: a place associated with remembrance becomes neither sombre illustration nor pure abstraction, but a vivid, carefully orchestrated encounter between colour, landscape and quiet human presence.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 16x20in (40x50cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
August Macke’s Auf dem Friedhof von Thun (At the Cemetery in Thun), painted in 1914, turns a quiet cemetery encounter into a closely woven arrangement of figures, trees and luminous colour. Two people stand together in the central foreground, their warm reds and muted browns set against cooler passages of blue and green. Rather than describing the site through meticulous detail, Macke constructs it from overlapping planes and rhythmic, simplified shapes, allowing the solemnity of the setting to coexist with an unexpectedly vivid surface.
Macke was a leading figure in German Expressionism and closely associated with Der Blaue Reiter, the Munich-based avant-garde circle that sought new expressive possibilities in colour and form. His paintings are often less anguished than the term Expressionism might suggest: familiar urban, garden and leisure scenes become ordered harmonies in which observation is distilled rather than abandoned. Here, the cemetery remains recognisable as a place of reflection, yet it is also transformed into a modern composition whose emotional register emerges through colour, spatial compression and the relationship between human and natural forms.
A closer look
The two foreground figures provide the painting’s principal point of concentration. Positioned close together, they appear either to embrace or to converse intimately; Macke leaves the precise nature of their interaction open. Their bodies are built from relatively geometric blocks, while their arms contain layered russets, browns and softened reds. This warmth distinguishes them from the surrounding landscape and gives the pair a physical presence amid the more fluid forms of the cemetery.
Above and behind them, stylised trees rise through the upper half of the composition. Their trunks establish a loose vertical structure, while rounded clusters of green foliage interrupt it with a more playful rhythm. Blues and greens mingle in the distance, suggesting further vegetation and open air without sharply separating one element from another. The space is therefore created less by conventional perspective than by overlap, variations in saturation and the gradual cooling of colour as the scene recedes.
The lower portion is especially active. Irregular polygons and fragmented darker forms press towards the edge, giving the ground an almost faceted appearance. A concentrated patch of red at the lower left balances the warmer figures, while the lower right is weighted by deeper, less clearly defined shapes. Across the painting, visible brushwork and small glimpses of underlying colour keep the surface in motion. Even passages that initially seem calm reveal a lively exchange between angular human forms and the softer contours of leaves, trunks and distant landscape.
Context and significance
Created in the year the First World War began, Auf dem Friedhof von Thun belongs to the final phase of Macke’s brief career. He was killed in 1914 while serving in the German army, aged twenty-seven. Knowledge of that chronology inevitably lends the cemetery subject an added poignancy for later viewers, although the painting itself should not be reduced to a premonition. Its mood is poised rather than overtly mournful, and its strongest effects remain formal: the balance of warm and cool colour, the gentle compression of depth and the intimacy of the two figures.
The painting demonstrates Macke’s distinctive ability to reconcile avant-garde simplification with the recognisable world. Nothing is rendered with documentary precision, yet the scene retains a convincing sense of human scale and outdoor atmosphere. Its enduring fascination lies in that balance: a place associated with remembrance becomes neither sombre illustration nor pure abstraction, but a vivid, carefully orchestrated encounter between colour, landscape and quiet human presence.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 16x20in (40x50cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
Molte delle nostre mappe e stampe d’arte vengono scelte come regali premurosi per case, uffici, studi e luoghi significativi.
Scegli un’opzione incorniciata per il regalo più semplice, pronto da appendere, oppure scegli una stampa non incorniciata se il destinatario preferisce selezionare la propria cornice.
Realizziamo gli ordini localmente in 23 paesi in tutto il mondo, così i regali possono spesso essere prodotti vicino al destinatario. Questo li aiuta ad arrivare più rapidamente, a viaggiare in maggiore sicurezza e a evitare sorprese legate a dazi doganali o di importazione.
- Possiamo consegnare direttamente al destinatario
- I pezzi incorniciati arrivano pronti da appendere
- Le stampe non incorniciate sono accuratamente imballate in un robusto tubo protettivo
- Quasi ogni ordine viene realizzato localmente, per regali più rapidi e sicuri
- Il reso entro 90 giorni dà al destinatario il tempo di decidere
Se non sei sicuro di cosa scegliere, ti invitiamo a contattarci. Possiamo aiutarti a scegliere la mappa, il formato, la finitura o l’opzione di consegna più adatti.
Most orders are made locally and delivered in around 2–3 working days, depending on the product, size and destination.
We print and frame maps and artwork in 24 countries around the world, so your order is usually made close to you or your recipient. That means faster delivery, less time in transit, and no customs or import duty surprises.
Personalised and customised pieces usually take an extra 1–2 working days, because we prepare your design and send it to you for approval before printing.
Very large framed orders can take a little longer, as they need extra care in production and delivery.
Every order is carefully packaged: unframed prints are sent in a strong protective tube, while framed pieces are securely packed with protective materials around the frame.
If you need your order by a particular date, please contact us before ordering. We’ll check the best production route and delivery option for your location.
Express delivery is available at checkout for most countries. Next-day delivery is available in the UK, US, Singapore and the UAE.
Your order is covered by our 90-day returns policy and 10-year guarantee.
Our standard frame is a gallery-style black ash hardwood frame, with a simple, modern look. It is approximately 20mm (0.8in) wide. You can also view some lovely customer photos of framed maps and art.
We use super-clear acrylic glazing, also known as Perspex or Acrylite, instead of traditional glass. It is lighter, safer, and has lower reflectivity, giving the artwork a clearer, cleaner appearance.
Six standard frame colours are available at no extra cost: black, dark brown, dark grey, oak, white, and antique gold. Custom framing and mounting/matting is also available for customers looking for something more specific.
Most maps, art prints, and illustrations are also available as a framed canvas. We use matte cotton canvas, stretch it over a sustainably sourced wooden box frame, and then float the piece within a wooden outer frame. The finished result is beautifully presented, with no glazing between you and the artwork.
All frames are supplied ready to hang, with either string or brackets fitted to the back. Very large frames will include heavy-duty hanging plates and/or a mounting baton. If you have any questions, please get in touch.
We can also supply old maps and artwork on canvas, foam board, cotton rag, and other materials.
If you would prefer to frame your map or artwork yourself, please read our size guide before ordering.
Lavoriamo con interior designer, realtà del settore hospitality, professionisti del settore immobiliare, uffici e acquirenti aziendali per singoli pezzi e progetti coordinati di più ampia portata.
Quest'opera può essere adattata a una specifica parete, stanza o progetto e il nostro laboratorio può aiutare a coordinare dimensioni, materiale e incorniciatura prima della produzione.
- Dimensioni precise, extra-large e su misura
- Incorniciatura personalizzata, montaggio e materiali alternativi
- Pezzi coordinati per più stanze o sedi
- Personalizzazione dell'opera, per regolarne il colore e lo stile
- Consulenza su arte e incorniciatura da parte del nostro laboratorio
- Produzione locale per progetti in tutto il mondo
Ogni stampa artistica restaurata inizia dall’opera originale dell’artista—mai da una sostituzione generata dall’IA.
Il nostro studio di Londra lavora a partire da materiali di origine accuratamente selezionati da musei, biblioteche, archivi e collezioni private. Restauriamo i danni dovuti all’età, i colori sbiaditi e le imperfezioni di riproduzione, preservando al contempo la composizione, il tratto del pennello, il segno, la texture e il carattere d’epoca dell’artista.
Non utilizziamo l’IA generativa per ridisegnare, reinterpretare o inventare l’opera. Il restauro digitale viene impiegato solo per recuperare e riprodurre l’opera originale nel modo più fedele possibile.
Una volta restaurata, l’opera master viene preparata per il formato e la finitura da te scelti. Il tuo pezzo viene quindi stampato e, se selezionato, incorniciato vicino alla destinazione di consegna.
Le nostre stampe artistiche giclée utilizzano carta opaca archivistica senza acidi da 200 g/m² e inchiostri pigmentati resistenti allo sbiadimento, per una finitura ricca e di qualità museale. Le stampe artistiche incorniciate utilizzano acrilico ottico cristallino e arrivano pronte da appendere.
Sono disponibili anche tele incorniciate ed edizioni speciali su cotone-rag. Scopri di più sui nostri materiali e finiture.
Restauriamo e produciamo mappe e stampe d’arte dal 1984, e garantiamo personalmente ogni pezzo.
Ogni ordine è coperto dalla nostra garanzia di 10 anni e dalla garanzia di consegna senza danni. Se il vostro pezzo arriva danneggiato, lo sostituiremo o lo rifaremo gratuitamente. Se qualsiasi altro aspetto non fosse conforme, contattate il nostro team di laboratorio e provvederemo tempestivamente a risolvere il problema.
Per tutti i dettagli, consultate la nostra politica su resi e rimborsi.
