Overview
Description
Specifications
Delivery & Returns
FAQs
Knowledge Hub
A Busy Ski Slope in a Slim Silver Frame
An 800mm square painting by Robert Lachapelle, looking down onto a crowded piste in the afternoon sun: the artwork for a wall that could do with some life in it. No large blocks of colour to build a scheme around. No quiet abstract that adds nothing to talk about. Almost the whole canvas is bright snow, and the colour arrives as dozens of small figures scattered across it in red, navy, orange and black, each one a few marks with a shadow and a track trailing behind. That is what lets a lively picture still hang light on a wall: at a distance it reads as pale and open, and only close up does it fill with people. Finished in high gloss acrylic and wrapped in a slimline silver frame. Works in living rooms, snugs, hallways and kitchens equally.
What the Scene Brings to a Wall
- Colour without a colour scheme: The reds, navies and oranges arrive as small scattered points rather than fields, so the piece stays light overall and does not tie the room to a palette.
- Detail worth crossing a room for: Every skier is picked out individually, with a shadow and a carved track behind. There is a great deal to find in a picture that looks simple from the sofa.
- Movement in a still image: The figures run at different angles down the slope and the tracks cross behind them, which is what gives the piece its energy.
- High gloss acrylic finish: A bright, hard surface that lifts the snow and gives the colours their intensity.
- Slimline silver frame: Cool and narrow, so it edges the picture without adding weight to it or warming the palette.
- 3.52 kg on a sawtooth fixing: A single hook rather than two holes levelled against each other.
Pairing the Artwork in the Room
A cool silver frame is easier to place with another cool, plain shape nearby: the round black wall mirror holds the same contemporary register in matte black, so on the same or a facing wall a plain circle balances a busy square without either warming the other up. The pale ground suits white, chalk, cool grey and pale blue walls, and reads strongly against a deeper charcoal or navy, while the scattered colour picks up leather, rust and warm timber in the furniture beneath. For arranging a wall around one piece with plenty going on in it, our guide to media wall ideas covers how the surrounding elements should behave.
Plenty Going On, and Still Easy to Place
Lively artwork usually comes at a cost. A picture with real energy in it tends to carry strong colour across most of the canvas, and once that is on the wall the room has to answer it. This one gets round the problem through composition. Almost the entire surface is bright snow, and the colour is broken into dozens of small figures scattered across it, so from across a room the piece reads as pale, open and calm. All the incident is there, but none of it is asking the sofa or the rug to match.
Robert Lachapelle paints the slope from above, which is the decision the whole picture rests on. Seen from that angle the skiers become small marks with shadows beneath them and carved tracks trailing behind, running at different speeds and different angles down the hill, and it is the variety of those directions that produces the sense of movement. Nobody is the subject. The crowd is. Look for a moment and you start picking out individuals, someone in orange cutting across the fall line, a pair travelling together, one figure stopped altogether while everyone else keeps going.
800 mm square, 35 mm deep, 3.52 kg, finished in high gloss acrylic and set in a slimline silver frame, hung portrait on a sawtooth fixing. The gloss lifts the snow and gives the small areas of colour their intensity, and the silver keeps the surround cool and narrow rather than framing the picture in warmth it does not need. For a plain cool shape to balance it elsewhere in the room, the Simplistic Round Wall Mirror in Black works in the same contemporary register.
What the Painting and Frame Do Together
- Colour as points, not fields. Scattered figures in red, navy, orange and black on a bright ground, so the piece stays light and commits the room to nothing.
- An aerial viewpoint. Looking down the slope turns each skier into a mark with a shadow and a track, which is what creates the movement across the canvas.
- Detail at close range. Individual figures, pairs travelling together, one or two stopped. There is far more in it than the view from the sofa suggests.
- High gloss acrylic finish. A hard bright surface that lifts the snow and gives the small colours their punch.
- Slimline silver frame. Narrow and cool. It edges the picture without adding visual weight or warming the palette.
- 3.52 kg on a sawtooth fixing. One hook to place rather than two holes to level, and easy to reposition.
A Piece People Walk Over to Look At
Most artwork is finished with you the moment you have seen it. A single strong image gives up everything it has at a glance, which is fine on a wall you pass but limited on one you sit with. A crowded scene works the other way round. There are enough separate incidents here that nobody finds all of them at once, and the ones people notice differ: the figure in orange cutting across everyone else, the pair skiing in step, the tracks that cross and tangle behind the group. That is worth having in a room where people sit and talk, because it gives them something to point at, and it is why a busy picture earns its place above a sofa rather than in a corridor.
Where to Put It and What It Will Do to the Room
Above a sofa in a living room or snug, where there is time to look at it properly. On a kitchen or dining wall, at the close range the detail deserves. In a hallway that takes side light rather than facing a window, since the surface is glossy. In a bedroom on a plain wall, where the pale ground keeps it calm. Against a deeper charcoal or navy wall, where the bright snow reads as a strong light break. The pale ground works with white, chalk, cool grey and pale blue, and the scattered colour picks up leather, rust and warm timber below it.
The Practical Details Before You Buy
- A glossy surface reflects. The high gloss finish will pick up a window or a bright lamp placed directly opposite. Hang it where light arrives from the side and the surface stays clear.
- Sawtooth hanging. A single hanger on the reverse takes one screw or hook. At 3.52 kg use a wall plug and screw into masonry, or a suitable plasterboard fixing, and check the hook is level before letting the weight onto it.
- Hangs portrait. One orientation only. The sawtooth is fitted accordingly and the slope reads that way up.
- Dust the surface, gently. A dry, soft cloth over the gloss and the frame. Avoid damp cloths and cleaning products, which can mark an acrylic finish, and never spray anything directly at the piece.
Delivery
| Service | Timescale | Cost |
|---|---|---|
| Standard | 3-5 working days | Free |
| Next working day | Order before 4pm | £5.95 |
UK mainland only. Orders placed on weekends or bank holidays are dispatched the next working day.
We are unable to deliver to Northern Ireland, the Scottish Isles, Jersey, Guernsey, the Isle of Wight, the Isle of Man, or the Isles of Scilly. Full delivery information.
Returns
28-day returns policy. Contact us within 28 days of receipt if you are not happy with your order.
Items must be returned unused and in their original packaging. Our UK-based team will guide you through the process. Full returns information.
Ski Slope Framed Artwork WA533: Questions Answered
The WA533 ski slope scene is by Robert Lachapelle. The painting looks down onto a crowded piste in the afternoon sun, with dozens of skiers picked out individually against the snow, each with a shadow beneath and a carved track trailing behind.
Less than you might expect, because of how the colour is distributed. Almost the whole surface of the WA533 is bright snow, and the reds, navies and oranges arrive as small scattered figures rather than large blocks, so from across a room the piece reads as pale and open. The energy is there without the room having to answer a colour.
The ground is bright snow with pale shadows across it, and the figures bring red, navy, orange and black in small amounts. That scattered colour on the WA533 picks up leather, rust and warm timber in the furniture beneath it, without dictating anything.
It gives the WA533 a hard, bright surface that lifts the snow and sharpens the small areas of colour. It also means the piece will reflect a window or a bright lamp placed directly opposite, so hang it where light arrives from the side and the surface stays clear.
At 800mm square the WA533 is a large piece, a little wider than a standard interior door. It will hold a wall on its own above a sofa, sideboard or console without needing other pieces around it.
Above furniture, leave roughly 150 mm to 200 mm between the top of the piece below and the bottom of the frame so the two read as related. Above a sofa, hang the WA533 lower than you would on a bare wall so it relates to the seat. On an empty wall, centre it at about eye level for a standing adult.
A single toothed hanger fitted centrally to the reverse of the frame, so the WA533 hangs from one hook or screw rather than two D-rings levelled against each other. It is quicker to hang and easier to move if the first position is not right.
At 3.52 kg, a wall plug and screw into masonry or a suitable plasterboard fixing will carry the WA533 comfortably. Check the hook sits level before letting the weight onto it, since a sawtooth hanger allows a little side to side movement.
Dust the surface and frame of the WA533 with a dry, soft cloth. Avoid damp cloths and cleaning products, which can mark an acrylic finish, and never spray anything directly at the piece.
Dimensions: 800 mm (H) x 800 mm (W) x 35 mm (D). Artist: Robert Lachapelle. Finish: high gloss acrylic. Frame colour: silver, slimline profile. Materials: PS, MDF, paper. Hanging orientation: portrait. Fixing: sawtooth. Weight: 3.52 kg.
One Lively Piece in a Calm Room
Hang it where people sit rather than where they pass, since the detail is worth the time. Keep the wall around it empty and let it be the only busy thing in view. Side light suits a glossy surface better than a window directly opposite. For rooms that carry one confident piece and stay quiet elsewhere:
Overview
A Busy Ski Slope in a Slim Silver Frame
An 800mm square painting by Robert Lachapelle, looking down onto a crowded piste in the afternoon sun: the artwork for a wall that could do with some life in it. No large blocks of colour to build a scheme around. No quiet abstract that adds nothing to talk about. Almost the whole canvas is bright snow, and the colour arrives as dozens of small figures scattered across it in red, navy, orange and black, each one a few marks with a shadow and a track trailing behind. That is what lets a lively picture still hang light on a wall: at a distance it reads as pale and open, and only close up does it fill with people. Finished in high gloss acrylic and wrapped in a slimline silver frame. Works in living rooms, snugs, hallways and kitchens equally.
What the Scene Brings to a Wall
- Colour without a colour scheme: The reds, navies and oranges arrive as small scattered points rather than fields, so the piece stays light overall and does not tie the room to a palette.
- Detail worth crossing a room for: Every skier is picked out individually, with a shadow and a carved track behind. There is a great deal to find in a picture that looks simple from the sofa.
- Movement in a still image: The figures run at different angles down the slope and the tracks cross behind them, which is what gives the piece its energy.
- High gloss acrylic finish: A bright, hard surface that lifts the snow and gives the colours their intensity.
- Slimline silver frame: Cool and narrow, so it edges the picture without adding weight to it or warming the palette.
- 3.52 kg on a sawtooth fixing: A single hook rather than two holes levelled against each other.
Pairing the Artwork in the Room
A cool silver frame is easier to place with another cool, plain shape nearby: the round black wall mirror holds the same contemporary register in matte black, so on the same or a facing wall a plain circle balances a busy square without either warming the other up. The pale ground suits white, chalk, cool grey and pale blue walls, and reads strongly against a deeper charcoal or navy, while the scattered colour picks up leather, rust and warm timber in the furniture beneath. For arranging a wall around one piece with plenty going on in it, our guide to media wall ideas covers how the surrounding elements should behave.
Description
Plenty Going On, and Still Easy to Place
Lively artwork usually comes at a cost. A picture with real energy in it tends to carry strong colour across most of the canvas, and once that is on the wall the room has to answer it. This one gets round the problem through composition. Almost the entire surface is bright snow, and the colour is broken into dozens of small figures scattered across it, so from across a room the piece reads as pale, open and calm. All the incident is there, but none of it is asking the sofa or the rug to match.
Robert Lachapelle paints the slope from above, which is the decision the whole picture rests on. Seen from that angle the skiers become small marks with shadows beneath them and carved tracks trailing behind, running at different speeds and different angles down the hill, and it is the variety of those directions that produces the sense of movement. Nobody is the subject. The crowd is. Look for a moment and you start picking out individuals, someone in orange cutting across the fall line, a pair travelling together, one figure stopped altogether while everyone else keeps going.
800 mm square, 35 mm deep, 3.52 kg, finished in high gloss acrylic and set in a slimline silver frame, hung portrait on a sawtooth fixing. The gloss lifts the snow and gives the small areas of colour their intensity, and the silver keeps the surround cool and narrow rather than framing the picture in warmth it does not need. For a plain cool shape to balance it elsewhere in the room, the Simplistic Round Wall Mirror in Black works in the same contemporary register.
What the Painting and Frame Do Together
- Colour as points, not fields. Scattered figures in red, navy, orange and black on a bright ground, so the piece stays light and commits the room to nothing.
- An aerial viewpoint. Looking down the slope turns each skier into a mark with a shadow and a track, which is what creates the movement across the canvas.
- Detail at close range. Individual figures, pairs travelling together, one or two stopped. There is far more in it than the view from the sofa suggests.
- High gloss acrylic finish. A hard bright surface that lifts the snow and gives the small colours their punch.
- Slimline silver frame. Narrow and cool. It edges the picture without adding visual weight or warming the palette.
- 3.52 kg on a sawtooth fixing. One hook to place rather than two holes to level, and easy to reposition.
A Piece People Walk Over to Look At
Most artwork is finished with you the moment you have seen it. A single strong image gives up everything it has at a glance, which is fine on a wall you pass but limited on one you sit with. A crowded scene works the other way round. There are enough separate incidents here that nobody finds all of them at once, and the ones people notice differ: the figure in orange cutting across everyone else, the pair skiing in step, the tracks that cross and tangle behind the group. That is worth having in a room where people sit and talk, because it gives them something to point at, and it is why a busy picture earns its place above a sofa rather than in a corridor.
Where to Put It and What It Will Do to the Room
Above a sofa in a living room or snug, where there is time to look at it properly. On a kitchen or dining wall, at the close range the detail deserves. In a hallway that takes side light rather than facing a window, since the surface is glossy. In a bedroom on a plain wall, where the pale ground keeps it calm. Against a deeper charcoal or navy wall, where the bright snow reads as a strong light break. The pale ground works with white, chalk, cool grey and pale blue, and the scattered colour picks up leather, rust and warm timber below it.
The Practical Details Before You Buy
- A glossy surface reflects. The high gloss finish will pick up a window or a bright lamp placed directly opposite. Hang it where light arrives from the side and the surface stays clear.
- Sawtooth hanging. A single hanger on the reverse takes one screw or hook. At 3.52 kg use a wall plug and screw into masonry, or a suitable plasterboard fixing, and check the hook is level before letting the weight onto it.
- Hangs portrait. One orientation only. The sawtooth is fitted accordingly and the slope reads that way up.
- Dust the surface, gently. A dry, soft cloth over the gloss and the frame. Avoid damp cloths and cleaning products, which can mark an acrylic finish, and never spray anything directly at the piece.
Specifications
Delivery & Returns
Delivery
| Service | Timescale | Cost |
|---|---|---|
| Standard | 3-5 working days | Free |
| Next working day | Order before 4pm | £5.95 |
UK mainland only. Orders placed on weekends or bank holidays are dispatched the next working day.
We are unable to deliver to Northern Ireland, the Scottish Isles, Jersey, Guernsey, the Isle of Wight, the Isle of Man, or the Isles of Scilly. Full delivery information.
Returns
28-day returns policy. Contact us within 28 days of receipt if you are not happy with your order.
Items must be returned unused and in their original packaging. Our UK-based team will guide you through the process. Full returns information.
FAQs
Ski Slope Framed Artwork WA533: Questions Answered
The WA533 ski slope scene is by Robert Lachapelle. The painting looks down onto a crowded piste in the afternoon sun, with dozens of skiers picked out individually against the snow, each with a shadow beneath and a carved track trailing behind.
Less than you might expect, because of how the colour is distributed. Almost the whole surface of the WA533 is bright snow, and the reds, navies and oranges arrive as small scattered figures rather than large blocks, so from across a room the piece reads as pale and open. The energy is there without the room having to answer a colour.
The ground is bright snow with pale shadows across it, and the figures bring red, navy, orange and black in small amounts. That scattered colour on the WA533 picks up leather, rust and warm timber in the furniture beneath it, without dictating anything.
It gives the WA533 a hard, bright surface that lifts the snow and sharpens the small areas of colour. It also means the piece will reflect a window or a bright lamp placed directly opposite, so hang it where light arrives from the side and the surface stays clear.
At 800mm square the WA533 is a large piece, a little wider than a standard interior door. It will hold a wall on its own above a sofa, sideboard or console without needing other pieces around it.
Above furniture, leave roughly 150 mm to 200 mm between the top of the piece below and the bottom of the frame so the two read as related. Above a sofa, hang the WA533 lower than you would on a bare wall so it relates to the seat. On an empty wall, centre it at about eye level for a standing adult.
A single toothed hanger fitted centrally to the reverse of the frame, so the WA533 hangs from one hook or screw rather than two D-rings levelled against each other. It is quicker to hang and easier to move if the first position is not right.
At 3.52 kg, a wall plug and screw into masonry or a suitable plasterboard fixing will carry the WA533 comfortably. Check the hook sits level before letting the weight onto it, since a sawtooth hanger allows a little side to side movement.
Dust the surface and frame of the WA533 with a dry, soft cloth. Avoid damp cloths and cleaning products, which can mark an acrylic finish, and never spray anything directly at the piece.
Dimensions: 800 mm (H) x 800 mm (W) x 35 mm (D). Artist: Robert Lachapelle. Finish: high gloss acrylic. Frame colour: silver, slimline profile. Materials: PS, MDF, paper. Hanging orientation: portrait. Fixing: sawtooth. Weight: 3.52 kg.
Knowledge Hub
One Lively Piece in a Calm Room
Hang it where people sit rather than where they pass, since the detail is worth the time. Keep the wall around it empty and let it be the only busy thing in view. Side light suits a glossy surface better than a window directly opposite. For rooms that carry one confident piece and stay quiet elsewhere:
Framed Ski Resort Wall Art
Overview
Description
Specifications
Delivery & Returns
FAQs
Knowledge Hub
A Busy Ski Slope in a Slim Silver Frame
An 800mm square painting by Robert Lachapelle, looking down onto a crowded piste in the afternoon sun: the artwork for a wall that could do with some life in it. No large blocks of colour to build a scheme around. No quiet abstract that adds nothing to talk about. Almost the whole canvas is bright snow, and the colour arrives as dozens of small figures scattered across it in red, navy, orange and black, each one a few marks with a shadow and a track trailing behind. That is what lets a lively picture still hang light on a wall: at a distance it reads as pale and open, and only close up does it fill with people. Finished in high gloss acrylic and wrapped in a slimline silver frame. Works in living rooms, snugs, hallways and kitchens equally.
What the Scene Brings to a Wall
- Colour without a colour scheme: The reds, navies and oranges arrive as small scattered points rather than fields, so the piece stays light overall and does not tie the room to a palette.
- Detail worth crossing a room for: Every skier is picked out individually, with a shadow and a carved track behind. There is a great deal to find in a picture that looks simple from the sofa.
- Movement in a still image: The figures run at different angles down the slope and the tracks cross behind them, which is what gives the piece its energy.
- High gloss acrylic finish: A bright, hard surface that lifts the snow and gives the colours their intensity.
- Slimline silver frame: Cool and narrow, so it edges the picture without adding weight to it or warming the palette.
- 3.52 kg on a sawtooth fixing: A single hook rather than two holes levelled against each other.
Pairing the Artwork in the Room
A cool silver frame is easier to place with another cool, plain shape nearby: the round black wall mirror holds the same contemporary register in matte black, so on the same or a facing wall a plain circle balances a busy square without either warming the other up. The pale ground suits white, chalk, cool grey and pale blue walls, and reads strongly against a deeper charcoal or navy, while the scattered colour picks up leather, rust and warm timber in the furniture beneath. For arranging a wall around one piece with plenty going on in it, our guide to media wall ideas covers how the surrounding elements should behave.
Plenty Going On, and Still Easy to Place
Lively artwork usually comes at a cost. A picture with real energy in it tends to carry strong colour across most of the canvas, and once that is on the wall the room has to answer it. This one gets round the problem through composition. Almost the entire surface is bright snow, and the colour is broken into dozens of small figures scattered across it, so from across a room the piece reads as pale, open and calm. All the incident is there, but none of it is asking the sofa or the rug to match.
Robert Lachapelle paints the slope from above, which is the decision the whole picture rests on. Seen from that angle the skiers become small marks with shadows beneath them and carved tracks trailing behind, running at different speeds and different angles down the hill, and it is the variety of those directions that produces the sense of movement. Nobody is the subject. The crowd is. Look for a moment and you start picking out individuals, someone in orange cutting across the fall line, a pair travelling together, one figure stopped altogether while everyone else keeps going.
800 mm square, 35 mm deep, 3.52 kg, finished in high gloss acrylic and set in a slimline silver frame, hung portrait on a sawtooth fixing. The gloss lifts the snow and gives the small areas of colour their intensity, and the silver keeps the surround cool and narrow rather than framing the picture in warmth it does not need. For a plain cool shape to balance it elsewhere in the room, the Simplistic Round Wall Mirror in Black works in the same contemporary register.
What the Painting and Frame Do Together
- Colour as points, not fields. Scattered figures in red, navy, orange and black on a bright ground, so the piece stays light and commits the room to nothing.
- An aerial viewpoint. Looking down the slope turns each skier into a mark with a shadow and a track, which is what creates the movement across the canvas.
- Detail at close range. Individual figures, pairs travelling together, one or two stopped. There is far more in it than the view from the sofa suggests.
- High gloss acrylic finish. A hard bright surface that lifts the snow and gives the small colours their punch.
- Slimline silver frame. Narrow and cool. It edges the picture without adding visual weight or warming the palette.
- 3.52 kg on a sawtooth fixing. One hook to place rather than two holes to level, and easy to reposition.
A Piece People Walk Over to Look At
Most artwork is finished with you the moment you have seen it. A single strong image gives up everything it has at a glance, which is fine on a wall you pass but limited on one you sit with. A crowded scene works the other way round. There are enough separate incidents here that nobody finds all of them at once, and the ones people notice differ: the figure in orange cutting across everyone else, the pair skiing in step, the tracks that cross and tangle behind the group. That is worth having in a room where people sit and talk, because it gives them something to point at, and it is why a busy picture earns its place above a sofa rather than in a corridor.
Where to Put It and What It Will Do to the Room
Above a sofa in a living room or snug, where there is time to look at it properly. On a kitchen or dining wall, at the close range the detail deserves. In a hallway that takes side light rather than facing a window, since the surface is glossy. In a bedroom on a plain wall, where the pale ground keeps it calm. Against a deeper charcoal or navy wall, where the bright snow reads as a strong light break. The pale ground works with white, chalk, cool grey and pale blue, and the scattered colour picks up leather, rust and warm timber below it.
The Practical Details Before You Buy
- A glossy surface reflects. The high gloss finish will pick up a window or a bright lamp placed directly opposite. Hang it where light arrives from the side and the surface stays clear.
- Sawtooth hanging. A single hanger on the reverse takes one screw or hook. At 3.52 kg use a wall plug and screw into masonry, or a suitable plasterboard fixing, and check the hook is level before letting the weight onto it.
- Hangs portrait. One orientation only. The sawtooth is fitted accordingly and the slope reads that way up.
- Dust the surface, gently. A dry, soft cloth over the gloss and the frame. Avoid damp cloths and cleaning products, which can mark an acrylic finish, and never spray anything directly at the piece.
Delivery
| Service | Timescale | Cost |
|---|---|---|
| Standard | 3-5 working days | Free |
| Next working day | Order before 4pm | £5.95 |
UK mainland only. Orders placed on weekends or bank holidays are dispatched the next working day.
We are unable to deliver to Northern Ireland, the Scottish Isles, Jersey, Guernsey, the Isle of Wight, the Isle of Man, or the Isles of Scilly. Full delivery information.
Returns
28-day returns policy. Contact us within 28 days of receipt if you are not happy with your order.
Items must be returned unused and in their original packaging. Our UK-based team will guide you through the process. Full returns information.
Ski Slope Framed Artwork WA533: Questions Answered
The WA533 ski slope scene is by Robert Lachapelle. The painting looks down onto a crowded piste in the afternoon sun, with dozens of skiers picked out individually against the snow, each with a shadow beneath and a carved track trailing behind.
Less than you might expect, because of how the colour is distributed. Almost the whole surface of the WA533 is bright snow, and the reds, navies and oranges arrive as small scattered figures rather than large blocks, so from across a room the piece reads as pale and open. The energy is there without the room having to answer a colour.
The ground is bright snow with pale shadows across it, and the figures bring red, navy, orange and black in small amounts. That scattered colour on the WA533 picks up leather, rust and warm timber in the furniture beneath it, without dictating anything.
It gives the WA533 a hard, bright surface that lifts the snow and sharpens the small areas of colour. It also means the piece will reflect a window or a bright lamp placed directly opposite, so hang it where light arrives from the side and the surface stays clear.
At 800mm square the WA533 is a large piece, a little wider than a standard interior door. It will hold a wall on its own above a sofa, sideboard or console without needing other pieces around it.
Above furniture, leave roughly 150 mm to 200 mm between the top of the piece below and the bottom of the frame so the two read as related. Above a sofa, hang the WA533 lower than you would on a bare wall so it relates to the seat. On an empty wall, centre it at about eye level for a standing adult.
A single toothed hanger fitted centrally to the reverse of the frame, so the WA533 hangs from one hook or screw rather than two D-rings levelled against each other. It is quicker to hang and easier to move if the first position is not right.
At 3.52 kg, a wall plug and screw into masonry or a suitable plasterboard fixing will carry the WA533 comfortably. Check the hook sits level before letting the weight onto it, since a sawtooth hanger allows a little side to side movement.
Dust the surface and frame of the WA533 with a dry, soft cloth. Avoid damp cloths and cleaning products, which can mark an acrylic finish, and never spray anything directly at the piece.
Dimensions: 800 mm (H) x 800 mm (W) x 35 mm (D). Artist: Robert Lachapelle. Finish: high gloss acrylic. Frame colour: silver, slimline profile. Materials: PS, MDF, paper. Hanging orientation: portrait. Fixing: sawtooth. Weight: 3.52 kg.
One Lively Piece in a Calm Room
Hang it where people sit rather than where they pass, since the detail is worth the time. Keep the wall around it empty and let it be the only busy thing in view. Side light suits a glossy surface better than a window directly opposite. For rooms that carry one confident piece and stay quiet elsewhere:
Overview
A Busy Ski Slope in a Slim Silver Frame
An 800mm square painting by Robert Lachapelle, looking down onto a crowded piste in the afternoon sun: the artwork for a wall that could do with some life in it. No large blocks of colour to build a scheme around. No quiet abstract that adds nothing to talk about. Almost the whole canvas is bright snow, and the colour arrives as dozens of small figures scattered across it in red, navy, orange and black, each one a few marks with a shadow and a track trailing behind. That is what lets a lively picture still hang light on a wall: at a distance it reads as pale and open, and only close up does it fill with people. Finished in high gloss acrylic and wrapped in a slimline silver frame. Works in living rooms, snugs, hallways and kitchens equally.
What the Scene Brings to a Wall
- Colour without a colour scheme: The reds, navies and oranges arrive as small scattered points rather than fields, so the piece stays light overall and does not tie the room to a palette.
- Detail worth crossing a room for: Every skier is picked out individually, with a shadow and a carved track behind. There is a great deal to find in a picture that looks simple from the sofa.
- Movement in a still image: The figures run at different angles down the slope and the tracks cross behind them, which is what gives the piece its energy.
- High gloss acrylic finish: A bright, hard surface that lifts the snow and gives the colours their intensity.
- Slimline silver frame: Cool and narrow, so it edges the picture without adding weight to it or warming the palette.
- 3.52 kg on a sawtooth fixing: A single hook rather than two holes levelled against each other.
Pairing the Artwork in the Room
A cool silver frame is easier to place with another cool, plain shape nearby: the round black wall mirror holds the same contemporary register in matte black, so on the same or a facing wall a plain circle balances a busy square without either warming the other up. The pale ground suits white, chalk, cool grey and pale blue walls, and reads strongly against a deeper charcoal or navy, while the scattered colour picks up leather, rust and warm timber in the furniture beneath. For arranging a wall around one piece with plenty going on in it, our guide to media wall ideas covers how the surrounding elements should behave.
Description
Plenty Going On, and Still Easy to Place
Lively artwork usually comes at a cost. A picture with real energy in it tends to carry strong colour across most of the canvas, and once that is on the wall the room has to answer it. This one gets round the problem through composition. Almost the entire surface is bright snow, and the colour is broken into dozens of small figures scattered across it, so from across a room the piece reads as pale, open and calm. All the incident is there, but none of it is asking the sofa or the rug to match.
Robert Lachapelle paints the slope from above, which is the decision the whole picture rests on. Seen from that angle the skiers become small marks with shadows beneath them and carved tracks trailing behind, running at different speeds and different angles down the hill, and it is the variety of those directions that produces the sense of movement. Nobody is the subject. The crowd is. Look for a moment and you start picking out individuals, someone in orange cutting across the fall line, a pair travelling together, one figure stopped altogether while everyone else keeps going.
800 mm square, 35 mm deep, 3.52 kg, finished in high gloss acrylic and set in a slimline silver frame, hung portrait on a sawtooth fixing. The gloss lifts the snow and gives the small areas of colour their intensity, and the silver keeps the surround cool and narrow rather than framing the picture in warmth it does not need. For a plain cool shape to balance it elsewhere in the room, the Simplistic Round Wall Mirror in Black works in the same contemporary register.
What the Painting and Frame Do Together
- Colour as points, not fields. Scattered figures in red, navy, orange and black on a bright ground, so the piece stays light and commits the room to nothing.
- An aerial viewpoint. Looking down the slope turns each skier into a mark with a shadow and a track, which is what creates the movement across the canvas.
- Detail at close range. Individual figures, pairs travelling together, one or two stopped. There is far more in it than the view from the sofa suggests.
- High gloss acrylic finish. A hard bright surface that lifts the snow and gives the small colours their punch.
- Slimline silver frame. Narrow and cool. It edges the picture without adding visual weight or warming the palette.
- 3.52 kg on a sawtooth fixing. One hook to place rather than two holes to level, and easy to reposition.
A Piece People Walk Over to Look At
Most artwork is finished with you the moment you have seen it. A single strong image gives up everything it has at a glance, which is fine on a wall you pass but limited on one you sit with. A crowded scene works the other way round. There are enough separate incidents here that nobody finds all of them at once, and the ones people notice differ: the figure in orange cutting across everyone else, the pair skiing in step, the tracks that cross and tangle behind the group. That is worth having in a room where people sit and talk, because it gives them something to point at, and it is why a busy picture earns its place above a sofa rather than in a corridor.
Where to Put It and What It Will Do to the Room
Above a sofa in a living room or snug, where there is time to look at it properly. On a kitchen or dining wall, at the close range the detail deserves. In a hallway that takes side light rather than facing a window, since the surface is glossy. In a bedroom on a plain wall, where the pale ground keeps it calm. Against a deeper charcoal or navy wall, where the bright snow reads as a strong light break. The pale ground works with white, chalk, cool grey and pale blue, and the scattered colour picks up leather, rust and warm timber below it.
The Practical Details Before You Buy
- A glossy surface reflects. The high gloss finish will pick up a window or a bright lamp placed directly opposite. Hang it where light arrives from the side and the surface stays clear.
- Sawtooth hanging. A single hanger on the reverse takes one screw or hook. At 3.52 kg use a wall plug and screw into masonry, or a suitable plasterboard fixing, and check the hook is level before letting the weight onto it.
- Hangs portrait. One orientation only. The sawtooth is fitted accordingly and the slope reads that way up.
- Dust the surface, gently. A dry, soft cloth over the gloss and the frame. Avoid damp cloths and cleaning products, which can mark an acrylic finish, and never spray anything directly at the piece.
Specifications
Delivery & Returns
Delivery
| Service | Timescale | Cost |
|---|---|---|
| Standard | 3-5 working days | Free |
| Next working day | Order before 4pm | £5.95 |
UK mainland only. Orders placed on weekends or bank holidays are dispatched the next working day.
We are unable to deliver to Northern Ireland, the Scottish Isles, Jersey, Guernsey, the Isle of Wight, the Isle of Man, or the Isles of Scilly. Full delivery information.
Returns
28-day returns policy. Contact us within 28 days of receipt if you are not happy with your order.
Items must be returned unused and in their original packaging. Our UK-based team will guide you through the process. Full returns information.
FAQs
Ski Slope Framed Artwork WA533: Questions Answered
The WA533 ski slope scene is by Robert Lachapelle. The painting looks down onto a crowded piste in the afternoon sun, with dozens of skiers picked out individually against the snow, each with a shadow beneath and a carved track trailing behind.
Less than you might expect, because of how the colour is distributed. Almost the whole surface of the WA533 is bright snow, and the reds, navies and oranges arrive as small scattered figures rather than large blocks, so from across a room the piece reads as pale and open. The energy is there without the room having to answer a colour.
The ground is bright snow with pale shadows across it, and the figures bring red, navy, orange and black in small amounts. That scattered colour on the WA533 picks up leather, rust and warm timber in the furniture beneath it, without dictating anything.
It gives the WA533 a hard, bright surface that lifts the snow and sharpens the small areas of colour. It also means the piece will reflect a window or a bright lamp placed directly opposite, so hang it where light arrives from the side and the surface stays clear.
At 800mm square the WA533 is a large piece, a little wider than a standard interior door. It will hold a wall on its own above a sofa, sideboard or console without needing other pieces around it.
Above furniture, leave roughly 150 mm to 200 mm between the top of the piece below and the bottom of the frame so the two read as related. Above a sofa, hang the WA533 lower than you would on a bare wall so it relates to the seat. On an empty wall, centre it at about eye level for a standing adult.
A single toothed hanger fitted centrally to the reverse of the frame, so the WA533 hangs from one hook or screw rather than two D-rings levelled against each other. It is quicker to hang and easier to move if the first position is not right.
At 3.52 kg, a wall plug and screw into masonry or a suitable plasterboard fixing will carry the WA533 comfortably. Check the hook sits level before letting the weight onto it, since a sawtooth hanger allows a little side to side movement.
Dust the surface and frame of the WA533 with a dry, soft cloth. Avoid damp cloths and cleaning products, which can mark an acrylic finish, and never spray anything directly at the piece.
Dimensions: 800 mm (H) x 800 mm (W) x 35 mm (D). Artist: Robert Lachapelle. Finish: high gloss acrylic. Frame colour: silver, slimline profile. Materials: PS, MDF, paper. Hanging orientation: portrait. Fixing: sawtooth. Weight: 3.52 kg.
Knowledge Hub
One Lively Piece in a Calm Room
Hang it where people sit rather than where they pass, since the detail is worth the time. Keep the wall around it empty and let it be the only busy thing in view. Side light suits a glossy surface better than a window directly opposite. For rooms that carry one confident piece and stay quiet elsewhere:
The Must Have Finishing Touch
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