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106 Objekte
Schweiz Wintersaison 2023/24
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(RM) 609542172
FOREST LEAVES, BY S. ANDERSON, IN THE EXHIBITION OF THE SOCIETY OF BRITISH ARTISTS, 1864. CREATOR: W. L. THOMAS.
Forest Leaves, by S. Anderson, in the Exhibition of the Society of British Artists, 1864. Engraving of a painting. 'It is not...by the mere brilliancy of the colours...that a judge would think of estimating the artist's gift as a colourist, but rather by the clearness and truth of the tones in shadow; particularly...those of the boy's flesh, which have rare delicacy and purity. The title of this picture is suggested, of course, by the leaves fallen from the trees, which the girl, in her ramble in the neighbouring forest, has collected. Her eye has been attracted by their colour, dyed as they are with the richest hues of autumn. She has woven them into a wreath and placed it coquettishly upon her head. As she is kneeling, with the sun almost at her back, the rays of light, already splendidly tinctured with the rosy flush of sunset, pass through the coloured leaves and produce a beautiful effect, which cannot, of course, be rendered in our Engraving. The result is, that around the head the wreath of simple "forest leaves" seems like a "glory" or nimbus; and this, with the earnest gaze of her large, dilated eyes into the darkling blue of the sky opposite the setting sun, gives a spirituality to the figure of this little rustic maiden'. From "Illustrated London News", 1864. Forest Leaves, by S. Anderson, in the Exhibition of the Society of British Artists, 1864. Creator: W. L. Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609539868
THE WOODS IN AUTUMN, BY HENRY JUTSUM, IN THE EXHIBITION OF THE BRITISH INSTITUTION, 1864. CREATOR: UNKNOWN.
The Woods in Autumn, by Henry Jutsum, in the Exhibition of the British Institution, 1864. Engraving of a painting. 'The season...is far advanced, as we see by the sparse foliage of sere and yellow leaves, the great dry, stubbly ferns; the carpeting of dead leaves, brown and red, drifted by the wind into every hollow, and the felling of the sapless trees. As late as the middle of November is the period chosen for commencing to fell the beech, the ash, and some other trees. The great silvery-barked trunks of several fine beeches lie about, lopped of their branches and ready for the timber merchant. Other fine stems, or "boles," as they are called in some districts of England, are being felled by the foresters, and to the left some noble "butts" are drawn away by a team of oxen. The felling of so many fine beeches, which look more than usually beautiful when - as in this picture - tipped with the evening sunlight, might be no very pleasant sight to some ardent lovers of woodland scenery. Their loss from the cleared space in the view before us is, however, more than compensated by the prospect thereby opened of true English landscape, with its undulating fields and hedgerows, its scattered trees and familiar village church-tower'. From "Illustrated London News", 1864. The Woods in Autumn, by Henry Jutsum, in the Exhibition of the British Institution, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609482565
AUTUMN ON THE LAGO MAGGIORE, BY F. DILLON, IN THE EXHIBITION OF THE BRITISH INSTITUTION, 1864. CREATOR: MASON JACKSON.
Autumn on the Lago Maggiore, by F. Dillon, in the Exhibition of the British Institution, 1864. Engraving of a painting. '...of all the painter's works...we really remember none painted with more charming gusto and hearty relish than the little piece we have engraved. It glows and palpitates with the glorious autumnal hues of the lovely Italian lago. The sunlight sleeps on the still lake...it drowsily trembles among the vine-leaves, but permeates many...in a shower of green and gold, ruby and bronze, like the chromatic chequers of stained glass; it flushes into orange the distant purple shore; it turns the blocks of the quay, broken as are the colours by reflections of the blue sky, into something beautiful almost, to the artist eye, as the opal or pearl. Well may the boatman moor his crazy battello, with its load of cool melons and gourds, screened from the hot sun by that ragged but picturesque awning, alongside the pier, and seek the far niente of the Italian's paradise prone on the earth, under the grateful shade of the pergola, exchanging the fierce blaze outside for the softer light of a sweetheart's loving eyes. And all these remindings of the sunny South, in subject and colour, are conveyed with a slight but happy facility of touch'. From "Illustrated London News", 1864. Autumn on the Lago Maggiore, by F. Dillon, in the Exhibition of the British Institution, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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