Jan Saia Lemons & Silver
Status: In Stock Available | Condition: New | Edition:Limited Edition | Edition Size: Limited Edition of 100 | Dim:8 x 10 | Jan Saia| Item #: CEA170
Price: $ 150.00 USD..
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Art Terminologies
Giclée - A computerized reproduction technique in which the image and topography are generated from a digital file and printed by a special ink jet printer, using ink, acrylic or oil paints. Giclée printing offers one of the highest degree of accuracy and richness of color available in any reproduction techniques
Lithography - Printing technique using a planographic process in which prints are pulled on a special press from a flat stone or metal surface that has been chemically sensitized so that ink sticks only to the design areas and is repelled by the non-image areas. Lithography was invented in 1798 in Germany by Alois Senefelder.
Serigraphy (Silk-screen) - A printing technique that makes use of a squeegee to force ink directly onto a piece of paper or canvas through a stencil creating an image on a screen of silk or other fine fabric with an impermeable substance. Serigraphy differs from most other printing in that its color areas are paint films rather than printing ink stains.
Remarque – Additional enhancements by the artist on some or all of the final prints within an edition
Artist's Proof (AP) - Print intended for the artist's personal use. It is common practice to reserve approximately ten percent of an edition as artist's proofs, although this figure can be higher. The artist's proof is sometimes referred to by its French épreuve d'artist (abbreviation E.A.). Artist's proofs can be distinguished by the abbreviation AP or E.A., commonly on the lower left of the work.
“Gallery wrapped” is a way of finishing a canvas artwork so it’s ready to hang without needing an additional frame. The canvas is stretched tightly over thick wooden stretcher bars, and the edges of the canvas are wrapped around the sides and stapled on the back.
Stretched - When a canvas is described as stretched, it means the artwork has been pulled tightly over a wooden frame (called stretcher bars) and secured on the back. This process keeps the canvas flat and smooth, ready to hang on the wall or to be placed inside an outer frame.
Hand Embellished - When an artwork is hand embellished, the artist (or a skilled studio artisan) personally adds paint, texture, or other details by hand on top of the printed or finished piece. This gives each artwork unique highlights and depth, making no two pieces exactly alike — even within the same edition.
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Jan Saia is a contemporary American fine artist known for her still life paintings that capture the delicate interplay of light and color. Her floral art and nature-inspired artwork showcase a refined balance between impressionist realism and classical oil painting techniques. With a background in interior design and fine art studies, Saia's compositions exude a sense of elegance and tranquility, making her fine art prints and originals highly sought after by collectors. Her dedication to capturing the beauty of everyday subjects continues to define her place in the world of contemporary still life painting.
Lemons & Silver (P) - CEA170
NOTES: MEDIUM: GICLEE ON PAPER.
Lemons & Silver by Jan Saia is signed by the artist and comes with a certificate of authenticity.
image Copyright © 2025 by Jan Saia
Jan Saia bio
Jan Saia's masterful modern still life paintings are abundant with talent and unforgettable style. Her innovative technique is part traditional painting, part sketching with a paintbrush dipped in color. "When I lay a color down," she explains, "I usually lay it down knowing that I am going to put something on top of it that you can see through." As her paint is applied to the canvas, timing becomes an essential component in the process. At a precise point in time, she lets the piece set before returning to it in order to work with the paint's altered viscosity. This creates new dimensions in both color and texture. "It's a timing thing that you learn by doing," she relates. With her unique still life paintings that are carefully tooled with personal style and technique, Jan has taken one of the most traditional art genres and reinvented to create her singular style. But long before the brush hits the canvas, another lengthy and entirely different process takes place. Jan creates the "scene" she will paint with actual vignettes composed with a collection of objects. She does not paint from photographs like many artists. "I really paint what I see," she says. "I'm not painting detail - I'm painting relationships. The inspiration comes from visual things outside of painting. It isn't necessarily art – it could be anything. In one piece, it could be the vase, while in another the main subject is really about how the light is running across the top of the table and off the edge of a plate." A setup can take a few hours to a couple of days to put together, and sometimes she may work on one for days before scrapping the whole idea altogether. "I don't chase it around – I know what I want," she says. Jan had an aptitude for drawing as a child, entering and winning many art shows. In high school, her interest in art blossomed even more. "I wasn't so concerned with drawing something just right," she recalls. "I was more interested in just letting the subject tell me what it wanted to do, which is unusual for a 16-year old. That's when I started having instructors tell me I should continue with art." Professionally, however, she pursued a career in interior design, where she focused her efforts for several years. Then, Saia began taking instruction from a still life and portrait painter. "He followed the old masters style," she says. "The basis of my paintings is still like this - very tonal in the value relationships and how the light falls on form, like a Rembrandt sort of thing. It's not just objects I'm capturing on canvas, but the relationship of what's around the objects as well." What continues to inspire her? "I get inspiration from a lot of things," she says. "I might be into color at one phase, and I like to see how one color plays off the other, and I evaluate how I'm actually seeing it. Then I try to create that in my own little vignette. Textures, rhythm, negative space, form - I'm interested in how the objects play off one another." For Jan Saia, life and art are indistinguishable from one another. "It's all one big work in progress," she explains.
