“It is only when we are no longer fearful that we begin to create.”
Venice, from the Porch of Madonna della Saluteca. 1835
“I don’t paint so that people will understand me, I paint to show what a particular scene looks like.”
“Turner drew on his considerable experience as a marine painter and the brilliance of his technique as a watercolorist to create this view, in which the foundations of the palaces of Venice merge into the waters of the lagoon by means of delicate reflections. He based the composition on a rather slight pencil drawing made during his first trip to Venice, in 1819, but the painting is really the outcome of his second visit, in 1833. He exhibited this canvas to wide acclaim at the Royal Academy, London, in 1835.” The Met
“I know of no genius but the genius of hard work.”
Thomas Cooper Gotch aka T.C. Gotch, English painter and book illustrator, was linked to the Pre-Raphaelite movement.
The romantic style of the Pre-Raphaelites is clearly portrayed in Thomas Gotch’s painting “The Child Enthroned”.
Born on December 10, 1854 in Kettering, Northamptonshire, Thomas was the fourth son of a shoemaker. Happily, his parents provided the encouragement and financial support to jump-start his artistic journey. He attended the finest art schools: 1876-1877, Heatherley’s art school in London, 1877-1878 and Koninklijke Academie voor Schone Kunsten in Antwerp. In 1879, at the Slade School of Fine Art in London, Thomas met his wife Caroline Yates.
Thomas and Caroline studied in Paris during the early 1880’s until they moved, in 1887, to Newlyn, a fishing village on the south coast of Cornwall. They joined the Newlyn art colony which was similar to the Barbizon School in France, where artists traveled from Paris to paint in a more pure setting emphasizing natural light.
I understand that Thomas used his daughter, Phyllis, as a sitter for “The Child Enthroned.” There was an earlier painting entitled, “My Crown and Sceptre” which was completed in 1892.
“The Child Enthroned,” which is considered his master work, was completed two years later.
Thomas Gotch’s, “Alleluia” can be viewed at the Tate Gallery.
Thomas Faed and his brothers, John and James, made a substantial contribution to Scottish painting through their scenes from Scottish history and contemporary domestic life. Their sister Susan Bell Faed (1827-1909) was also a painter and was often used as a model by her brothers. The circulation of prints made after the brothers’ paintings increased their popularity. Thomas’ work, with its strong narrative content inspired by Wilkie, brought him international renown. The brothers, originally from Gatehouse-of-Fleet, Kirkcudbright, trained in Edinburgh at the Trustees’ Academy, where Thomas won the life-class prize in 1847. Following his paintings’ success at the Royal Academy, Thomas moved to London in 1851. Among his patrons was the philanthropic baroness, Angela Burdett-Coutts, one of the wealthiest heiresses in Britain. National Galleries Scotland
Times are changing! We now live in a world that offers seemingly unlimited access to what was previously only available to the select view. On January 23, 2019, Cleveland Museum of Art threw open its doors to Open Access, removing all restrictions from use.
Join me as I explore the Lost-Wax Casting process with Susan Bergh, Curator of Pre-Columbian and Native North American Art, CMA.
Figure with Deer Antlers Pendant
“This emphatically male figure combines a human body with a composite animal head. The antlers are the stag’s; the snout, perhaps a snarling feline’s; and the hair is formed of braided serpents whose heads hiss from the figure’s shoulders. The extended tongue may convey aggression or perhaps death because dying animals are depicted with lolling tongues. Either condition is in keeping with the creature’s ferocity.” The Cleveland Museum of Art
What is Open GLAM?
According to Douglas McCarthy, in his February 2021 CODART article, “Almost 1000 cultural heritage institutions around the world1 have published some or all of their online collections for free reuse, modification and sharing. They are part of the ‘Open GLAM’ (Galleries, Libraries, Archives, Museums) movement that views liberal access2 and reuse (where culturally appropriate3) of digital collections as fundamental to education, research and public engagement.“
GLAM signifies Galleries, Libraries, Archives, and Museums. The words “Open GLAM” refers to endeavours made by GLAM institutions to provide high-resolution downloadable images free of charge to maximize the ability of the user to interact with, share, and reuse the image. Over the past two years, galleries, libraries, archives and museums have moved their collections and exhibitions online to reach a global community. Open access is the gift of knowledge.
Everyone should be able to access and reuse cultural heritage in the public domain.
How sad it were for Arthur, should he live, To sit once more within the lonely hall, And miss to hear high talk of noble deeds As in the golden days before thy sin.’
TENNYSON, IDYLLS OF THE KING.
John Melhuish Strudwick (1849-1937), an English Pre-Raphaelite painter, presents three beautiful female figures in a Medieval chamber at the bottom of a staircase. The painting is a blend of Renaissance and Medieval styles for which John Melhuish Strudwick was known.
I was captivated by the vibrant colours, the flow of the garments, and the intricate wood and gold paneling on the musical instrument.
“The title is taken from Tennyson’s Idylls of the King from the part of the poem where Guinevere talks of her regret of her sins and desire to return to the idyllic time of her youth. The central figure dressed in green may therefore depict the young Guinevere, attended by two of her companions before she had met Arthur or Lancelot.” Sotheby’s
Vincent Van Gogh sought peace in an asylum in the Saint-Rémy-de-Provence.
He lived there between May 1889 through May 1990. During this time he painted at least 15 paintings of olive trees.
In the final months of his life, Vincent Van Gogh turned to nature to seek relief from his mental turmoil and emotional distress. Olive trees had a profound significance for him. He saw the olive tree as a symbol of life, the divine, and the cycle of life.
“What am I in the eyes of most people — a nonentity, an eccentric, or an unpleasant person — somebody who has no position in society and will never have; in short, the lowest of the low. All right, then — even if that were absolutely true, then I should one day like to show by my work what such an eccentric, such a nobody, has in his heart. That is my ambition, based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Though I am often in the depths of misery, there is still calmness, pure harmony and music inside me. I see paintings or drawings in the poorest cottages, in the dirtiest corners. And my mind is driven towards these things with an irresistible momentum.” Vincent Van Gogh
The “Olive” paintings are considered to be among his finest works. One painting, “Olive Trees in a Mountainous Landscape”, was a complement to The Starry Night.