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    A low horizon under thin grey scraped over white and combed in places, a rust band along the base and thin teal reeds
    Christina Misuro

    Winter Landscape Poster

    $41.99$52.99

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    In the same series

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    • A cut paper vase of flowers in lilac on pale blue, a green and white check running off both edges as a tablecloth
    • Two legs in flared denim and a pair of red shoes cropped at the knee against near black brown worked with a palette knife
    • A cream dove cropped off three edges against deep magenta, the tail breaking into separate feathers

    Winter Landscape holds a horizon somewhere in the lower third and leaves everything above it to weather. The paint is scraped on in thin grey over white with a comb drawn through it in places, so the sky reads as sleet rather than as cloud. A single band of rust runs across the lower edge where ground might be, and a scatter of thin teal strokes stands in for reeds. Nothing is described and nothing is named. It is a painting about visibility more than about a place.

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    Christina Misuro

    Winter Landscape Poster

    Description

    Winter Landscape holds a horizon somewhere in the lower third and leaves everything above it to weather. The paint is scraped on in thin grey over white with a comb drawn through it in places, so the sky reads as sleet rather than as cloud. A single band of rust runs across the lower edge where ground might be, and a scatter of thin teal strokes stands in for reeds. Nothing is described and nothing is named. It is a painting about visibility more than about a place.

    Product ID 463902
    Styling tips

    Oak could work well here, since it lifts a palette that sits almost entirely in grey. A white frame keeps it cold and quiet if that is what you want. Leaning against a bedroom wall or above a bed it reads as stillness rather than as scenery. It pairs nicely with knitted wool, jute and furniture in pale pine.

    Size guide

    The size of our posters always refers to the actual paper size — not the motif. Some posters include a white border that frames the artwork, similar to a passepartout. Where this is the case, it will be noted in the product description and is also visible in the product images.

    When choosing a frame, make sure to match it to the poster size. Our frames are designed to fit our posters exactly — a 50×70 cm poster takes a 50×70 cm frame. No trimming or adjusting needed.

    We offer a wide range of sizes to suit any wall, from smaller formats perfect for shelves and gallery walls, to larger statement pieces that anchor a room. Not sure which size is right for your space? Feel free to contact us — we're happy to help.

    Material

    Our posters are printed on 200 g/m² premium matte paper made from FSC® Mix Credit Paper 100%. The paper is archive-proof, meaning it won't yellow over time, and all printing is done in modern facilities with ISO 14001 certification.

    Our frames come in a variety of colours and materials, all ethically sourced and produced with care for people and the environment. Available in multiple sizes to suit any wall and any home. If you have any questions about our products, don't hesitate to reach out to our customer support team.

    Product background

    We believe that greater transparency helps drive the change towards a more sustainable future. As part of this long-term commitment, we work continuously to know and share how and where our products are made.

    Our products are sourced from carefully selected suppliers across the Nordics, Europe, and Asia. For example, our posters are printed at leading printing facilities in Northern Europe, certified with the Nordic Swan Ecolabel and operating as 100% climate-neutral since 2011.

    We care about the conditions under which our products are made. If you'd like to know more about the origin or production conditions of a specific product, reach out to our customer support team — we're happy to share what we know.

    MEET THE ARTIST

    Christina Misuro

    Christina Misuro's paintings dwell in the space between the visible and the invisible, where memory, instinct, and emotion take shape as symbolic landscapes. Working primarily in oil, she builds atmospheric surfaces through layered colour, allowing spectral figures and fluid forms to emerge gradually, as though remembered rather than invented, rendered not as illustration but as embodiment. Pushing beyond traditional figurative art, she incorporates abstract elements, bold colour, and nuanced texture to heighten emotional impact, finding in painting a place to hold contradiction rather than resolve it. Each piece is a reflection of a moment, a feeling, or a story, rendered in a way that is visually striking yet accessible.

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