Garden in Tegernsee with House and Mountain by August Macke, 1910
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 1910 e stampata in qualità museale. Descrizione completa
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Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
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Restaurato a Londra • Stampato e incorniciato in the UK
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 1910 e stampata in qualità museale. Descrizione completa
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August Macke’s Garten in Tegernsee mit Haus und Berg — Garden in Tegernsee with House and Mountain — was painted in 1910,...
Continua a leggereAugust Macke’s Garten in Tegernsee mit Haus und Berg — Garden in Tegernsee with House and Mountain — was painted in 1910, transforming a domestic landscape into an animated structure of colour. Dense, bright foliage fills much of the upright composition, while a pale fence leads through the garden towards a house and distant blue mountains. Greens, whites and cool blues are organised in distinct, interlocking areas, so that the scene remains recognisable while acquiring the decorative intensity of a mosaic.
The painting belongs to a decisive period in Macke’s development and in the emergence of German Expressionism. At Tegernsee, in the Bavarian Alpine foothills, the artist found subjects close at hand: gardens, houses, trees and the surrounding landscape. Rather than reproduce these places with strict naturalism, he simplified their forms and strengthened their colour relationships. Macke would become closely associated with Der Blaue Reiter, formed in Munich the following year, and this 1910 landscape already demonstrates the emphasis on colour and formal rhythm that characterised the group’s challenge to conventional representation.
A closer look
The garden dominates the foreground as a layered screen of vegetation. Trees rise through varied passages of bright and dark green, punctuated by small touches of white blossom. Macke’s visible strokes give the foliage a restless surface: leaves and branches are not described individually so much as gathered into clusters, patches and abbreviated marks. At the lower right, subdued reddish notes interrupt the prevailing green, adding warmth without disturbing the painting’s fresh, limited palette.
Across the lower middle of the composition, the fence forms a particularly effective spatial device. Its pale, faintly violet rails establish a boundary within the garden, but their direction also carries the eye deeper into the scene. The house is partially absorbed into the surrounding growth, its lighter geometric planes set against the more irregular forms of trees and shrubs. This alternation between built structure and vegetation gives the painting much of its visual energy: firm edges appear, disappear and re-emerge among the foliage.
Beyond this enclosed foreground, the landscape opens abruptly. Mountain forms rise in muted blue, softened by distance, beneath a sky of pale blue and gently modulated white cloud. The cooler, quieter upper section provides a counterweight to the crowded garden below. Depth is created through overlapping bands — grass, fence, trees, house and mountains — yet Macke keeps the surface assertively flat. The result is both a view into space and a carefully balanced arrangement of coloured shapes.
Context and significance
Macke’s approach reflects a broader avant-garde rethinking of landscape in the early twentieth century. Colour no longer needed to remain subordinate to local appearance; it could organise a composition, intensify contrasts and establish its emotional temperature. In Garten in Tegernsee mit Haus und Berg, however, experimentation does not erase the everyday subject. The fence still encloses a garden, the house retains its architectural presence and the mountain establishes a clear sense of place.
That balance between observation and simplification is central to the painting’s appeal. Macke treats an ordinary cultivated garden not as a minor domestic motif, but as a complete visual world in which foliage, architecture and Alpine distance are held together by luminous colour. The smallest accents — white flowers, violet fencing and muted red leaves — become as structurally important as the mountain itself.
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 16x16in (40x40cm) 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 Garten in Tegernsee mit Haus und Berg — Garden in Tegernsee with House and Mountain — was painted in 1910, transforming a domestic landscape into an animated structure of colour. Dense, bright foliage fills much of the upright composition, while a pale fence leads through the garden towards a house and distant blue mountains. Greens, whites and cool blues are organised in distinct, interlocking areas, so that the scene remains recognisable while acquiring the decorative intensity of a mosaic.
The painting belongs to a decisive period in Macke’s development and in the emergence of German Expressionism. At Tegernsee, in the Bavarian Alpine foothills, the artist found subjects close at hand: gardens, houses, trees and the surrounding landscape. Rather than reproduce these places with strict naturalism, he simplified their forms and strengthened their colour relationships. Macke would become closely associated with Der Blaue Reiter, formed in Munich the following year, and this 1910 landscape already demonstrates the emphasis on colour and formal rhythm that characterised the group’s challenge to conventional representation.
A closer look
The garden dominates the foreground as a layered screen of vegetation. Trees rise through varied passages of bright and dark green, punctuated by small touches of white blossom. Macke’s visible strokes give the foliage a restless surface: leaves and branches are not described individually so much as gathered into clusters, patches and abbreviated marks. At the lower right, subdued reddish notes interrupt the prevailing green, adding warmth without disturbing the painting’s fresh, limited palette.
Across the lower middle of the composition, the fence forms a particularly effective spatial device. Its pale, faintly violet rails establish a boundary within the garden, but their direction also carries the eye deeper into the scene. The house is partially absorbed into the surrounding growth, its lighter geometric planes set against the more irregular forms of trees and shrubs. This alternation between built structure and vegetation gives the painting much of its visual energy: firm edges appear, disappear and re-emerge among the foliage.
Beyond this enclosed foreground, the landscape opens abruptly. Mountain forms rise in muted blue, softened by distance, beneath a sky of pale blue and gently modulated white cloud. The cooler, quieter upper section provides a counterweight to the crowded garden below. Depth is created through overlapping bands — grass, fence, trees, house and mountains — yet Macke keeps the surface assertively flat. The result is both a view into space and a carefully balanced arrangement of coloured shapes.
Context and significance
Macke’s approach reflects a broader avant-garde rethinking of landscape in the early twentieth century. Colour no longer needed to remain subordinate to local appearance; it could organise a composition, intensify contrasts and establish its emotional temperature. In Garten in Tegernsee mit Haus und Berg, however, experimentation does not erase the everyday subject. The fence still encloses a garden, the house retains its architectural presence and the mountain establishes a clear sense of place.
That balance between observation and simplification is central to the painting’s appeal. Macke treats an ordinary cultivated garden not as a minor domestic motif, but as a complete visual world in which foliage, architecture and Alpine distance are held together by luminous colour. The smallest accents — white flowers, violet fencing and muted red leaves — become as structurally important as the mountain itself.
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 16x16in (40x40cm) 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
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- 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.
