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A painting made for you, by hand

Intellectual Depression

手描き油彩複製画

当社のアーティストが、ご希望のサイズと額縁に合わせてキャンバスに手描きで制作する、オーダーメイドの油彩画です。 ( プリント版に切り替え デジタル画像販売へ切り替え)

作品解説

A stark black silhouette of a skeletal tree rises against a rich yellow background in this haunting 1980 work by Gilbert & George that captures themes of decay and invites you to explore its profound depth.

アーティストの略歴

Explore the visionary works of Sir George Gilbert Scott – renowned architect & designer of iconic structures like Liverpool Cathedral & Battersea Power Station. Discover his Gothic & modern style.

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Chapter 1

How large should it be?

Slide to change the size; the picture on the left shows the frame at its real width. The proportions of the original are kept.

標準サイズ
オーダーメイド
CM
INCH

作品のオリジナル比率に合わせた、当店の規定サイズからお選びください。

横幅
高さ

フレームや壁のスペースに合わせて、ご希望の幅と高さを入力してください。本作品は手描きのため、異なる比率のサイズをご希望の場合、絵画の周囲を少し広げて描くか、あるいは端を少しカットして調整することが可能です。お客様のご要望に合わせます。制作を開始する前に、仕上がりを確認するためのデジタルモックアップをお送りいたします。このページに表示されている画像は完成品の実物ではなく、あくまでモックアップによるイメージです。

Chapter 2

How should it arrive?

Choose the edges of the stretched canvas

Choose your frame

Corner sample of the WhiteWrap canvas edge finish, stretched on 無垢材 bars
White ¥1
Corner sample of the BlurSideWrap canvas edge finish, stretched on 無垢材 bars
Blurside ¥1
Corner sample of the ExtendedWrap canvas edge finish, stretched on 無垢材 bars
Extended ¥1
Corner sample of the P118B picture frame: 成型ポリスチレン, 5 cm wide and 3 cm thick
P118B ¥10
Corner sample of the P118H picture frame: 成型ポリスチレン, 5 cm wide and 3 cm thick
P118H ¥10
Corner sample of the P118W picture frame: 成型ポリスチレン, 5 cm wide and 3 cm thick
P118W ¥10
Corner sample of the P438Z picture frame: 成型ポリスチレン, 5.5 cm wide and 3.5 cm thick
P438Z ¥10
Corner sample of the P508JH picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P508JH ¥12
Corner sample of the P508YH picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P508YH ¥12
Corner sample of the P805H picture frame: 成型ポリスチレン, 5 cm wide and 3.5 cm thick
P805H ¥10
Corner sample of the P805Z picture frame: 成型ポリスチレン, 5 cm wide and 3.5 cm thick
P805Z ¥10
Corner sample of the P919BZ picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P919BZ ¥10
Corner sample of the P919G picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P919G ¥10
Corner sample of the P919XJ picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P919XJ ¥10
Corner sample of the P959ZH picture frame: 成型ポリスチレン, 5 cm wide and 3 cm thick
P959ZH ¥10
Corner sample of the P968JZ picture frame: 成型ポリスチレン, 6 cm wide and 4 cm thick
P968JZ ¥12
Corner sample of the W106C picture frame: 無垢材, 5 cm wide and 3 cm thick
W106C ¥8
Corner sample of the W218G picture frame: 無垢材, 5 cm wide and 3 cm thick
W218G ¥10
Corner sample of the W218JH picture frame: 無垢材, 5 cm wide and 3 cm thick
W218JH ¥8
Corner sample of the W218Y picture frame: 無垢材, 5 cm wide and 3 cm thick
W218Y ¥10
Corner sample of the W307PJ picture frame: 無垢材, 6 cm wide and 3 cm thick
W307PJ ¥10
Corner sample of the W316G picture frame: 無垢材, 6 cm wide and 3 cm thick
W316G ¥10
Corner sample of the W316PJ picture frame: 無垢材, 6 cm wide and 3 cm thick
W316PJ ¥8
Corner sample of the W316Y picture frame: 無垢材, 6 cm wide and 3 cm thick
W316Y ¥10
Corner sample of the W398PJ picture frame: 無垢材, 5 cm wide and 3 cm thick
W398PJ ¥8
Corner sample of the W4111J picture frame: 無垢材, 6.5 cm wide and 3.5 cm thick
W4111J ¥10
Corner sample of the W500HY picture frame: 無垢材, 7 cm wide and 5 cm thick
W500HY ¥15
Corner sample of the W500JH picture frame: 無垢材, 7 cm wide and 5 cm thick
W500JH ¥15
Corner sample of the W692G picture frame: 無垢材, 8 cm wide and 4 cm thick
W692G ¥12
Corner sample of the W849H picture frame: 無垢材, 5 cm wide and 3 cm thick
W849H ¥8
Corner sample of the W940BG picture frame: 無垢材, 7.5 cm wide and 4.5 cm thick
W940BG ¥15
Corner sample of the W953PJ picture frame: 無垢材, 6 cm wide and 3.5 cm thick
W953PJ ¥8
Corner sample of the H24-GOLD picture frame: ジェッソ仕上げの木彫, 10 cm wide and 6 cm thick
H24-GOLD ¥30
Corner sample of the H24-SILVER picture frame: ジェッソ仕上げの木彫, 10 cm wide and 6 cm thick
H24-SILVER ¥30
Corner sample of the H36-GOLD picture frame: ジェッソ仕上げの木彫, 15 cm wide and 6.5 cm thick
H36-GOLD ¥45
Corner sample of the H36-SILVER picture frame: ジェッソ仕上げの木彫, 15 cm wide and 6.5 cm thick
H36-SILVER ¥45
額縁プレビュー
額装済み

Moulding: . Overall size with the frame: .

Chapter 3

Who paints it, and should anything change?

Examples of what can be changed: Replace face with customer photo; Add pet (e.g., replace cat with dog); Include hidden message in background; Change background landscape or elements.
After order, OriginalUniqueArt.com team will email client for instructions and provide a mockup preview

世界中への配送()は、通常の5週間ではなく、3〜4週間でお届けいたします。(3 11月)。品質には一切妥協いたしません。

Chapter 4

The finishing touches

A nameplate, as in a museum?

刻印入りブロンズプレートの詳細

This elegant plaque features the artist's name and the title of the artwork, finely engraved for a timeless presentation.

It is made from bronze with a refined, elegant finish. The text is precisely laser-engraved for a sharp and permanent result. Measuring 9x2 cm, the plaque is compact yet easy to read. It's built to be durable and scratch-resistant, offering a professional, museum-quality look. Mounting is simple thanks to the included adhesive backing.

透明アクリル銘板の詳細

The plaque includes essential engraved details such as the artist's name, the title of the artwork, the date it was created, the type of media used-like oil on canvas or watercolor-a brief description of the piece, and a QR code that links to the complete artwork information.

It is crafted from clear acrylic, offering a sleek, modern appearance. The text is UV-engraved in black to ensure strong visual contrast. With a size of 10x15 cm, it ensures optimal readability. It comes equipped with two metal hooks for secure wall mounting. The plaque is designed to be weather-resistant, making it suitable for various environments, and it includes interactive features that work seamlessly with smartphone scanning.

黒アクリル製銘板の詳細

This elegant plaque includes engraved information such as the artist's name, the title of the artwork, the date it was created, the type of media used (like oil on canvas or watercolor), a short description of the artwork, and a QR code for quick access to more information.

The plaque itself is made from refined black acrylic with a premium finish. The text is laser-engraved in white for high contrast and readability. Its size is 10x15 cm, designed to be easy to read. It comes with two metal hooks for professional mounting. The design is sleek and fits any interior style. It is also weather-resistant and durable, with built-in digital integration for mobile compatibility.

A protective varnish?

When do you need it?

Chapter 5

Your painting, as you ordered it

Intellectual Depression

再現技法

複製画サイズ一覧

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至高の熟練アーティスト

より細部までこだわった表現、洗練された技術、そして十分な制作時間

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複製画用フレーム

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いずれかの辺が105 cm(約41インチ)を超えるアートワークまたは複製画の場合、フレームは分解されたキットの状態でお届けいたします。この方法は、輸送中の破損を防ぎ、安全に配送するために採用しております。

組み立てには専門知識が必要です(DIY用製品ではありません)。
本キットは、経験豊富なプロの額装師が、木工用ボンド(別売)、キャンバス用プライヤー、およびボンドの乾燥時に桟を直角に保持するためのクランプを使用して、組み立ておよびキャンバスの張り作業を行う必要があります。不適切な組み立てやキャンバスの張りの不均一は、作品に永久的な損傷を与える恐れがあり、弊社の保証対象外となります。

  • すべての無垢材のパーツが含まれており、組み立てに最適なサイズに正確にカットされています。

  • 付属のネジを使用し、角の接合部には別途木工用ボンドをご用意ください(ボンドは付属しておりません)。ボンドは額装業者様にてご手配をお願いいたします。

  • プロ仕様の道具が必要ですが、キットには含まれていません:キャンバス用ストレッチングプライヤー(テンショナー)、および接着剤が乾燥するまで木枠を直角に固定するためのクランプ。

重要:
コーナーの接合部には木工用ボンドが必要です。また、ボンドが完全に乾くまでクランプでバーを固定しておく必要があり、組み立てたフレームにキャンバスを張るにはキャンバス用ストレッチングプライヤーが必要となります。これらの道具はキットに含まれておりません。このサイズをご注文される前に、経験豊富なプロの額装師(フライマー)の手配をお願いいたします。

キャプション

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保護用ワニス

光沢ワニス(色彩を鮮やかに引き立て、光や湿気から保護します)

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作品をカスタマイズ

カスタマイズの例:顔をお客様の写真に差し替える、ペットを追加する(例:猫を犬に変更)、背景に隠しメッセージを入れる、背景の風景や要素を変更する。

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お急ぎ便

世界中への配送()は、通常の5週間ではなく、3〜4週間でお届けいたします。(3 11月)。品質には一切の妥協を許しません。

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お急ぎ便

世界中への配送()は、5週間ほどでお届けします。(10 11月)。

込み

合計金額

¥ 47312

合計金額 ¥ 47312

ガラスオプションは、110cm未満のサイズでのみご利用いただけます。

Included with every order

  • 世界中へ無料エクスプレス配送
  • 高品質なリネンキャンバス
  • 配送時完全保険付
  • 関税・輸入税の払い戻し保証
  • 真の色彩再現に関する保証
  • 100日間返品保証(製造上の欠陥がある場合のみ)
  • 100% 全額返金保証
  • まとめ買い割引のご案内
This is perhaps one of Gilbert & George’s starkest pictures, concerned with imagery of a dark, malformed growth, and orbiting notions of death and decay. A black silhouette of a skeletal leafless tree appears on a rich yellow background, seeming to raise a twisted claw to the sky. The featured tree grew in Finsbury Circus in London, and was a gift from the Japanese government as reparation after World War II. A poorly-made plaque on the tree detailed its history, though both tree and plaque were removed shortly after Gilbert & George’s picture was made. This, along with several related studies from the same period, contrasts with some of the artists’ brasher pictures, which teem with life and activity.Gilbert & George, partners in life and art, have created a universe in which their entire existence is an artwork. From their very first ‘Singing Sculpture’ (1969), made whilst still students at St Martin’s School of Art, and in which they move in synch and sing along with the Depression-era song ‘Underneath the Arches’, through to their unfashionably matching tailoring, their entirety is heavily formalised. They are well-known icons of British art, although they have always, to some extent, existed as outsiders – never venturing very far from their long-term residence in Fournier Street, East London, and eating in the same cafe every day at the same time. ‘Art is for All,’ claim Gilbert & George, and ‘Art is Life.’ As they explain in their inimitable rhetorical style, the subject matter of art ‘must be the human condition: we believe in the human condition as the supreme ideal. Man is the most amazing thing of all and the whole formal side of art – colours and forms – is there only to serve the subject and is of no importance in itself. We hate art for art’s sake – we are totally opposed to it.’Gilbert & George have been chroniclers of modern life for more than 40 years; and huge swathes of life - shock, shits, crucifixes and hoodies - have met within the confines of their signature grid. The themes that concerned the artists in 1980, however, are governed by the twin poles of religion and despair – a faith in life which is bleak and empty. Intellectual Depression is prefigured by a gradual move during the 1970s towards darker themes such as depression, alcohol and madness, and draws on a motif of an earlier picture, Branch (1978), in which the austere silhouette of a naked branch appears against a red background above the heads of the artists.Alongside these thematic developments, however, was the start of a new kind of richness in the artists’ palette. Gilbert & George had recently moved away from black and white monochrome images, and had begun to develop a process employing a deep red. The year of Intellectual Depression, 1980, was the first that they used the colour yellow, in a related picture, Waiting. The depth and richness of these hues, fixed within a dark grid-like structure, creates the impression of stained-glass windows. As Suzanne Pagé has noted, ‘Like the artists of the Middle Ages, Gilbert & George create images to initiate and explain.’ We might imagine that the message preached in this work is a type of warning. Many pictures from 1980 concern the aesthetics of living with fear, and the use of yellow and black is almost sickly, recalling a hazard sign or a wasp. For such prescient artists, who prefigured an age in which terror would have such an inflated currency, this early picture barks a lesson at us about the effect of strangulation that any such climate of fear has on the intellect, and on the soul.(C) Laura McLean-Ferris 20091 Gilbert & George in interview with Irmeline Lebeer, Art Press, 47 (April 1981), 23–25.2 Private collection.3 Private collection.4 Suzanne Pagé, introduction to Gilbert & George, exh. cat. (Paris: Musée d’Art Moderne de la Ville de Paris, 1997), 16.

Q&A

「Intellectual Depression」は、Sir George Gilbert Scottの作品群の中でどのような位置を占めているのでしょうか?

Sir George Gilbert Scottの作品群において、「Intellectual Depression」はContemporary Art様式に属しており、death and decay themes, human condition focus, contrast to brighter works, london urban imageryというテーマを共有しています。

Sir George Gilbert Scott作「Intellectual Depression」の彩度や色の強さはどのような感じでしょうか?

Sir George Gilbert Scott作「Intellectual Depression」の色調は、Vivid Colorの彩度とVividの強さを備えています。

British Councilに所蔵されているSir George Gilbert Scott作「Intellectual Depression」は、法的に複製することが可能でしょうか?

Sir George Gilbert Scott作「Intellectual Depression」の著作権の状態は明確であり、本作は著作権の保護対象ですです。British Councilに所蔵されているという事実によって、この状態が変わることはありません。

More about this painting

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In numbers

  • 1980the year it was painted
  • 29frames to choose from
  • standard sizes, in its own proportions
  • 5weeks to paint and deliver it

About the original

寸法
2020.0 x 2420.0 cm

Quick facts about Sir George Gilbert Scott

  • Artistic Movement Or Style: Gothic Revival
  • Artists Or Movements Influenced By This Artist: ['Victorian Architecture']
  • Artists Who Influenced This Artist: ['Charles Barry']
  • Date Of Birth: October 8, 1839
  • Date Of Death: May 6, 1897
  • Full Name: George Gilbert Scott
  • Nationality: British
  • Notable Artworks:
    • Liverpool Cathedral
    • Battersea Power Station
    • Leeds General Infirmary
    • St Pancras Hotel
  • Place Of Birth: London, England

作家プロフィール

The Architect of Victorian Grandeur

To walk through the heart of London or traverse the historic landscapes of Britain is to encounter the enduring legacy of Sir George Gilbert Scott. A titan of the nineteenth century, Scott did not merely design buildings; he sculpted the very atmosphere of the Victorian era. His life was a profound journey through the revival of medieval splendor, a pursuit that sought to breathe new life into the stone and mortar of a rapidly industrializing world. Born into an architectural dynasty, his path was paved by the influence of his father, Sir Gilbert Scott, yet George possessed a singular vision that would allow him to transcend mere imitation, establishing himself as a master of the Gothic Revival movement.

His early years were defined by a rigorous apprenticeship within the family tradition, where he absorbed the meticulous discipline required to honor historical precedents. This foundation allowed him to approach architecture not just as an engineer, but as a storyteller. He understood that every arch, every ribbed vault, and every intricate carving could serve as a vessel for spiritual and national identity. As his career progressed, Scott became a pivotal figure in reclaiming the grandeur of the Middle Ages, rejecting the cold rationality of Neoclassicism in favor of a more emotive, textured, and spiritually resonant aesthetic.

A Legacy Carved in Stone

The sheer scale of Scott’s contribution to the British landscape is staggering. His portfolio, which includes over 800 designs and restorations, reflects a man capable of navigating both the monumental and the intimate. He was a master of the Gothic Revival, a style characterized by its soaring verticality and complex ornamentation. Through his work, he brought back the dramatic interplay of light and shadow found in ancient cathedlamls, utilizing stained glass and sculptural details to create spaces that felt both timeless and divine.

Among his most celebrated achievements are structures that have become synonymous with British heritage:

  • The Midland Grand Hotel at St Pancras Station: A breathtaking masterpiece of Victorian Gothic design that remains one of London's most iconic landmarks.
  • The Albert Memorial: A grand, ornate tribute to Prince Albert, showcasing Scott's ability to handle immense sculptural complexity and symbolic depth.
  • The Foreign and Commonwealth Office: An exquisite example of how he could apply historical grandeur to the essential civic institutions of the British Empire.
  • Ecclesiastical Masterworks: His extensive work on cathedrals and churches across the United Kingdom, where he restored and reimagined sacred spaces to evoke a sense of the sublime.

The Spirit of the Gothic Revival

Beyond the physical structures, Scott’s true achievement lay in his ability to harmonize the ancient with the modern. While his heart belonged to the medieval aesthetic, he was no stranger to the technological advancements of his time. He skillfully integrated contemporary engineering and new materials into his designs, ensuring that his Gothic visions possessed the structural integrity required for the burgeoning urban centers of the nineteenth century. This synthesis of old-world charm and new-world innovation allowed his buildings to stand as resilient monuments to progress.

His influence extended far beyond his own drafting table, shaping the tastes of an entire generation of architects and designers. By championing a style that emphasized craftsmanship, detail, and historical continuity, he provided a sense of stability and beauty during a period of unprecedented social change. Today, when we gaze upon the intricate facades of his London landmarks or the solemn arches of his restored churches, we are not just looking at architecture; we are witnessing the enduring heartbeat of the Victorian spirit, preserved forever through the visionary hand of Sir George Gilbert Scott.

作品詳細

  • Subject or theme: Death, decay, and a skeletal tree
  • Year: 1980
  • Artistic style: Stark, minimalist imagery
  • Artist: Sir George Gilbert Scott