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kaveryDaniel Maclise (1806-1870) (was born [Daniel McClish] in Ireland on February 2, 1806)
Подробдности биографии под катом.
Winter night 's tale
Захотелось чего-нибудь этакого, сказачного. Кто не против чудес сегодня, то смотрите и наслаждайтесь.
Ну а если еще учесть, что художник по происхождению ирландец, то самое сегодня подходящее время для посте о нем.
The faun and the fairies
Scene from Twelfth Night
The Chivalric Vow of the Ladies of the Peacock
The Woodranger.
The Disenchantment of Bottom
Scene from Ben Jonson's 'Every Man in his Humour'
Snap-Apple Night
Cottage Group.
A Scene From AS YOU LIKE IT
Деревенские сплетницы.
Faun and the Fairies
Idylls of the King
King Cophetua and the Beggarmaid
A Scene from Undine
The Spirit Of Chivalry
Madeline After Prayer.
Marriage Aoife Strongbow
Merry Christmas in the Baron's Hall
Daniel Maclise was an Irish artist who worked in London. He is important as an illustrator, particularly for a series of caricature portraits of contemporary literary figures, which appeared in Frasers' Magazine between 1830 and 1836. He drew or painted most of the important literary figures of his day. He was also an important historical painter, producing murals for the Palace of Westminster as well as easel paintings.
Maclise was born in Cork and worked as a portrait and landscape artist in Cork and Dublin, before coming to England in 1827. In 1828, he entered the Royal Academy Schools and exhibited at the Royal Academy from 1829. In the 1830's and 1840's he exhibited regularly, mainly showing subjects from British history and Shakespeare. The main influences on his work in this period were firstly Delaroche for his historical reconstructions and secondly Rubens for his energetic and crowded compositions and free handling of paint.
However in 1843 he began to be involved in the decoration of the new parliament building, Westminster Palace, when Prince Albert asked him to paint one of the `Comus' frescoes in the garden pavillion at Buckingham Palace (destroyed). This scheme allowed artists to experiment with fresco painting and assessed their suitability for the more prestigious public work. Increasingly Maclise's style took on a colder and more Germanic quality. He exhibited at the Westminster Hall competitions in 1844, 1845 and 1846, and produced several frescoes and mural paintings in the Palace of Westminster, including The Spirit of Chivalry (1846-1847), The Spirit of Justice (1848-1849), Wellington and Blucher (cartoon 1858-1859, mural 1860-1861) and The Death of Nelson (1863-1865). He designed other murals, but the projects lost impetus after Prince Albert's death and all his future contracts were cancelled in 1864. This contributed to the depression, which affected his last years. An Arts Council exhibition of Maclise's work was held in 1972 at the National Portrait Gallery.
In The Village Gossips, Daniel Maclise demonstrates a continued interest in the historical genre scenes, which he had been painting in the 1830's and from which he became known as the father of history painting in England. By the end of 1840's he became increasingly interested in history as a source for his imagination and he began to move away from literature and the theatre as subjects for his work.
The setting for The Village Gossips is that of Germany in the early nineteenth century. The background, which includes a Romanesque church, demonstrates Maclise's particular interest in this period, although in this work the artist shows a greater concern for the genre subject than the historical setting. In his large history paintings he demonstrates a strong desire to be historically correct and he went to great trouble to insure the authentic reconstruction of a particular event.
Germany was to have a very strong impact on his work although he does not appear to have visited the country until 1859. Until this time the influence came from contemporary German art which identified with the country's mood of national resurgence and paid a tribute to the great events of the past. Moritz Retzsch was one artist who had a strong influence on Maclise's work particularly in terms of his symbolic content and Maclise was certainly looking at the work of the Nazarenes. By using thin transparent glazes of pure pigment, the artist creates a strong luminosity in the colours that he uses. This is very evident in The Village Gossips particularly in the lilac tree and the faces of the women. Despite Maclise's interest in Germany, The Village Gossips shows a diversity of assimilated ideas, drawn from contemporary and Renaissance sources. The very human subject of the village girls exchanging idle gossip whilst at the well collecting water is one, which certainly would have appealed to a wide Victorian audience. Взято тут
Born in Cork, Daniel Maclise was one of the first students to attend the Cork School of Art with fellow students John Hogan and Samuel Forde. He was an ambitious artist with a lively mind and personality who mixed well with literatery and political figures. In 1827 he moved to London where he attended The Royal Academy Schools. While there, he progressed quickly, earning medals for drawing and history painting. During his early years he supported himself by making pencil portraits and in 1830 he began his famous series of character portraits for Frazer's Magazine. He also illustrated books such as Hall's Ireland - its Scenery and Character. His draughtmanship was greatly admired, and his many clients and friends included the Disraeli family and Thackeray. Maclise became a very successful history painter, achieving a status and respect which was unequaled by any other Irish artist in Britain. Between 1858 and 1864, he painted a fine series of large sale frescoes for the new Houses of Parliament in London. A member of the Royal Academy, Maclise refused an offer of the presidency in 1866, and , in later life, became quite reclusive. He never married but lived with his parents and sister in London. After his death in 1870, an academy dinner was held in his honour where his friend Charles Dickens delivered a tribute address in which he talked of Maclise's 'fertility of mindand wonderful wealth of intellect'. (Взято тут)
Подробдности биографии под катом.
Winter night 's tale
Захотелось чего-нибудь этакого, сказачного. Кто не против чудес сегодня, то смотрите и наслаждайтесь.
Ну а если еще учесть, что художник по происхождению ирландец, то самое сегодня подходящее время для посте о нем.
The faun and the fairies
Scene from Twelfth Night
The Chivalric Vow of the Ladies of the Peacock
The Woodranger.
The Disenchantment of Bottom
Scene from Ben Jonson's 'Every Man in his Humour'
Snap-Apple Night
Cottage Group.
A Scene From AS YOU LIKE IT
Деревенские сплетницы.
Faun and the Fairies
Idylls of the King
King Cophetua and the Beggarmaid
A Scene from Undine
The Spirit Of Chivalry
Madeline After Prayer.
Marriage Aoife Strongbow
Merry Christmas in the Baron's Hall
Daniel Maclise was an Irish artist who worked in London. He is important as an illustrator, particularly for a series of caricature portraits of contemporary literary figures, which appeared in Frasers' Magazine between 1830 and 1836. He drew or painted most of the important literary figures of his day. He was also an important historical painter, producing murals for the Palace of Westminster as well as easel paintings.
Maclise was born in Cork and worked as a portrait and landscape artist in Cork and Dublin, before coming to England in 1827. In 1828, he entered the Royal Academy Schools and exhibited at the Royal Academy from 1829. In the 1830's and 1840's he exhibited regularly, mainly showing subjects from British history and Shakespeare. The main influences on his work in this period were firstly Delaroche for his historical reconstructions and secondly Rubens for his energetic and crowded compositions and free handling of paint.
However in 1843 he began to be involved in the decoration of the new parliament building, Westminster Palace, when Prince Albert asked him to paint one of the `Comus' frescoes in the garden pavillion at Buckingham Palace (destroyed). This scheme allowed artists to experiment with fresco painting and assessed their suitability for the more prestigious public work. Increasingly Maclise's style took on a colder and more Germanic quality. He exhibited at the Westminster Hall competitions in 1844, 1845 and 1846, and produced several frescoes and mural paintings in the Palace of Westminster, including The Spirit of Chivalry (1846-1847), The Spirit of Justice (1848-1849), Wellington and Blucher (cartoon 1858-1859, mural 1860-1861) and The Death of Nelson (1863-1865). He designed other murals, but the projects lost impetus after Prince Albert's death and all his future contracts were cancelled in 1864. This contributed to the depression, which affected his last years. An Arts Council exhibition of Maclise's work was held in 1972 at the National Portrait Gallery.
In The Village Gossips, Daniel Maclise demonstrates a continued interest in the historical genre scenes, which he had been painting in the 1830's and from which he became known as the father of history painting in England. By the end of 1840's he became increasingly interested in history as a source for his imagination and he began to move away from literature and the theatre as subjects for his work.
The setting for The Village Gossips is that of Germany in the early nineteenth century. The background, which includes a Romanesque church, demonstrates Maclise's particular interest in this period, although in this work the artist shows a greater concern for the genre subject than the historical setting. In his large history paintings he demonstrates a strong desire to be historically correct and he went to great trouble to insure the authentic reconstruction of a particular event.
Germany was to have a very strong impact on his work although he does not appear to have visited the country until 1859. Until this time the influence came from contemporary German art which identified with the country's mood of national resurgence and paid a tribute to the great events of the past. Moritz Retzsch was one artist who had a strong influence on Maclise's work particularly in terms of his symbolic content and Maclise was certainly looking at the work of the Nazarenes. By using thin transparent glazes of pure pigment, the artist creates a strong luminosity in the colours that he uses. This is very evident in The Village Gossips particularly in the lilac tree and the faces of the women. Despite Maclise's interest in Germany, The Village Gossips shows a diversity of assimilated ideas, drawn from contemporary and Renaissance sources. The very human subject of the village girls exchanging idle gossip whilst at the well collecting water is one, which certainly would have appealed to a wide Victorian audience. Взято тут
Born in Cork, Daniel Maclise was one of the first students to attend the Cork School of Art with fellow students John Hogan and Samuel Forde. He was an ambitious artist with a lively mind and personality who mixed well with literatery and political figures. In 1827 he moved to London where he attended The Royal Academy Schools. While there, he progressed quickly, earning medals for drawing and history painting. During his early years he supported himself by making pencil portraits and in 1830 he began his famous series of character portraits for Frazer's Magazine. He also illustrated books such as Hall's Ireland - its Scenery and Character. His draughtmanship was greatly admired, and his many clients and friends included the Disraeli family and Thackeray. Maclise became a very successful history painter, achieving a status and respect which was unequaled by any other Irish artist in Britain. Between 1858 and 1864, he painted a fine series of large sale frescoes for the new Houses of Parliament in London. A member of the Royal Academy, Maclise refused an offer of the presidency in 1866, and , in later life, became quite reclusive. He never married but lived with his parents and sister in London. After his death in 1870, an academy dinner was held in his honour where his friend Charles Dickens delivered a tribute address in which he talked of Maclise's 'fertility of mindand wonderful wealth of intellect'. (Взято тут)
