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Massa Looking Towards Vesuvius

Nimi Klass Kuupäev

Edward Lear, Massa Looking Towards Vesuvius. Avalik omand Vaadake seda künist liikuvas valguses: joon, lakki all asuv tõeline värv ja puhas pigment

Faktid

Kunstnik
Edward Lear wikioo.org/et/artists/edward-lear_et/
Kunstniku eluaastad
1812 – 1888

Kontekstis

Massa Looking Towards Vesuvius — Edward Lear

Millal see maaldis on tehtud?

  1. 1810
  2. 1820
  3. 1830
  4. 1840
  5. 1850
  6. 1860
  7. 1870
  8. 1880

Ülemine rida: aastad. Alumine rida: kunstniku vanus iga perioodi alguses ja lõpus — 0 sünni hetkel, 76 surumisel.

Varjatud: Edward Lear eluajal (1812–1888) iga dateeritud maal, aastakümne kaupa

Esimesed teosed: kuni 1858 Peamised töötusaastad: 1858–1872 Hilisemad teosed: alates aastast 1872

Need kolm osa jagavad selles kataloogis kuupäevaga märgitud teosed esimeseks neljanüüdiks, keskmiseks pooleks ja viimaseks neljanüüdiks. Need ei kujuta endast kunstniku tervikut: vähem produktiivne periood võib tähendada hoopis puudut teose kataloogist, mitte pelgalt vaikset aega. Aastad, mis on kooditud kunstniku elulugu

Selle plaadi kohta ei ole täpset aastat säilitatud — kunstniku eluaja ja teose stiili põhjal, millist aastakümnest te arvestaksite?

Võrdle teoseid

Vali üks eelnev teos: too kaks asja, mis sellega ühendavad, ja üks asi, mis sellest erineb.

Veel sarnaseid teoseid, mida selle kõrvale asetada: wikioo.org/et/art/similar/edward-lear-massa-looking-towards-vesuvius-8LHSKA-en/

Värvid

Pildist mõõdetud

    Peavärv

    Espresso #50442b

    Katalogistatud palett

    • #50442B
    • #CBC9BE
    • #6D6043
    • #2D2518

    Need värvid on osa kunstniku terviklikust paletist Leia teisi maaleid värvi järgi

    Palett
    Earthy Pildis domineeriv värvigrupp.
    Peavärvi nimi
    Espresso
    Intensiivsus
    Monochromatic Kui kütkestavad ja mitmekülgsed värvid on, alates ühest peenust toonist kuni paljude ere värvini.
    Kontrast
    Serene Kuidas värvid pildil valguse ja kяmbuse osas erinevad.
    Harmonia
    Unified Palette Värvide omavaheline kooskõlevus, alates kontrastsetest kuni täielikult ühtlaste toonidega.
    Heleus
    Deep_shadow Kuidas pilt üldiselt vaatub – alates sügavast varjust kuni eredast kõrvalvalgusest.
    Kintus
    Subtle Color Värvide puhtus ja intensiivsus ulatub halli lähedastest toonidest kuni täielikult elavate värvide kuni.

    Kus maailmas seda maali vaadatakse?

    • madalaim 1% osa
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% ja rohkem
    Selle maali külastajate arv on dokumenteeritud liiga vähe, et teha kaardi koostamist, seega on plaat kujutanud kõik Edward Lear teosed viimase zwölf kuuga — kokku 12 riiki. Kust need numbrid pärinevad

    Kolm kümmet juhtivat riiki

    1. 1 Hiina 67,8%9900 visits
    2. 2 Ameerika Ühendriigid 13,0%1900 visits
    3. 3 Hong Kong 4,8%700 visits
    4. 4 Singapur 4,8%700 visits
    5. 5 Rumeenia 3,4%500 visits
    6. 6 Austraalia 1,4%200 visits
    7. 7 Ühendusriik 1,4%200 visits
    8. 8 Brasiilia 0,7%100 visits
    9. 9 Šveits 0,7%100 visits
    10. 10 Hispaania 0,7%100 visits
    11. · 2 teist riiki 1,3%200 visits

    Leia kaardilt kolm kõige pimedamat riiki. Kas seda maali hoiustav muuseum asub mõnes neist? Kirjuta üles üks põhjus, miks kauguse poolest inimesed seda vaadata võivad.

    Edward Lear kõige vaatamistundlikumad teosed (kokku 20)

    1. 1 The Temple of Apollo at Bassae, 1855 1,9%300 visits
    2. 2 Road near Galle, Ceylon, 1879 1,9%300 visits
    3. 3 The Mountains of Thermopylae, 1852 1,9%300 visits
    4. 4 Study Of Palm Trees 1,9%300 visits
    5. 5 The Pyramids of Ghizeh, 1873 1,9%300 visits
    6. 6 The nile at kaasr-es-saiyyad 1,9%300 visits
    7. 7 Esneh On The Nile, Near Luxor, Egypt 2 1,9%300 visits
    8. 8 Certosa Di Pesio Con Le Missioni Della Consolata 1,9%300 visits
    9. 9 View Over The Lake, Kandy, Ceylon 1,9%300 visits
    10. 10 Damascus 3 1,9%300 visits
    11. 11 Quarries of Syracuse, 1847 1,3%200 visits
    12. 12 View of Florence from Villa San Firenze, 1862 1,3%200 visits
    13. 13 Launce and His Dog 1,3%200 visits
    14. 14 Ceylon Scenery 1,3%200 visits
    15. 15 Walls Of Constantinople 1,3%200 visits
    16. 16 Figure On A Balcony Overlooking The Citadel, Corfu 1,3%200 visits
    17. 17 Porta Maggiore, Rome 1,3%200 visits
    18. 18 Smakieras, Corfu 1,3%200 visits
    19. 19 Erbalunga, Corsica 1,3%200 visits
    20. 49 Massa Looking Towards Vesuvius see maalaus 0,6%100 visits

    Koos kattavad need teosed 31,3% kogu sellest tähelepanust, mida selle kunstniku maalid möödunud zwölf kuud on saanud. Kataloogis on 395 seda kunstnikku kuuluvat teost, millest 116 on vähemalt üks kord vaadatud. This painting ranks 49 of them, with 0,6% of that attention (100 visits). Sama arv, kuu-kuu põhjal

    Tugid mõõdavad tähelepanu, mitte kvaliteeti. Valige tippkohtadel olevad teosed ja see üks: nimetage üks asi, mis võib muuta maali kuulsaks lisaks sellele, kui hästi on see maalitud.

    Kunstnik ja muuseum

    Kunstnik

    Edward Lear

    Sündinud koht: London, Ühenditud kuningriik

    Edward Lear (1812–1888): The Poet of Nonsense

    Edward Lear, a name synonymous with whimsical verse and delightfully peculiar illustrations, was far more than the purveyor of limericks and fantastical creatures that often define his legacy. Born in 1812 in Holloway, Middlesex, England, into a family teeming with twenty-one children, Lear’s early life was marked by both financial instability and a burgeoning artistic talent. His father, Jeremiah Lear, faced hardship after the Napoleonic Wars, forcing young Edward to begin earning a living through his drawings at the tender age of fifteen. This necessity, however, ignited a lifelong passion that would see him traverse continents and capture the world in vibrant hues and playful lines. The shadow of familial difficulty, coupled with early health challenges – including epilepsy and bouts of melancholia he termed “the Morbids” – instilled within Lear a sense of gentle solitude and an inclination towards imaginative escape, qualities profoundly reflected in his art and writing.

    Lear's artistic journey began with meticulous precision. Initially employed by the Zoological Society, he honed his skills illustrating birds and animals, demonstrating a remarkable eye for detail and anatomical accuracy. This early work brought him to the attention of Edward Stanley, the 13th Earl of Derby, who commissioned Lear to document the exotic creatures within his private menagerie at Knowsley Hall. These years spent amongst lions, tigers, and parrots not only refined his draftsmanship but also fostered a deep connection with the natural world – a connection that would permeate his later landscapes. His dedication to scientific illustration instilled in him a disciplined approach to observation and representation, shaping his artistic sensibilities for decades to come. He meticulously rendered specimens of birds, reptiles, and mammals, capturing their textures and contours with remarkable accuracy—a testament to his technical prowess.

    From Ornithological Precision to Landscape’s Embrace

    Lear's artistic development took a significant turn when he embarked on extensive travels throughout Europe and beyond. Italy became a particular haven, offering not only respite for his health but also an abundance of inspiring vistas. He absorbed the light, colors, and textures of these diverse regions, developing a distinctive style characterized by atmospheric perspective and delicate brushwork. His landscapes are imbued with a palpable sense of emotion—a reflection of his own contemplative spirit—and demonstrate a masterful command of watercolor technique. Unlike many artists of his time who sought to depict nature in idealized form, Lear embraced its imperfections, capturing the subtle nuances of light and shadow with sensitivity and nuance. He wasn’t merely recording what he saw; he was conveying an inner vision—a communion with the beauty and mystery of the natural world.

    The Poet of Nonsense: A World Unbound

    Lear's literary contributions cemented his place in artistic history, establishing him as a pioneer of “nonsense” poetry – particularly limericks. A Book of Nonsense, published in 1846 under the pseudonym "Derry down Derry," revolutionized children’s literature and captivated audiences of all ages. This collection introduced a world populated by owls and pussycats sailing in pea-green boats, dongs with luminous noses, and other delightfully absurd creations. These verses weren't merely frivolous; they were imbued with a subtle melancholy and a playful subversion of conventional logic. Lear’s limericks explored themes of loneliness, longing, and the absurdity of existence—cloaked within a veneer of whimsicality—challenging readers to question assumptions about reality and embrace imaginative freedom. He didn’t simply invent nonsense words; he crafted entire worlds governed by their own internal rules, inviting audiences to suspend disbelief and revel in the joy of playful experimentation. The Owl and the Pussy-Cat, arguably his most famous poem, remains a beloved classic—its enduring appeal stemming from its lyrical rhythm and evocative imagery.

    A Legacy of Innovation and Enduring Charm

    Lear’s influence extends far beyond the realm of children's literature. He championed a new form of poetic expression, liberating verse from rigid structures and embracing playful experimentation. His landscapes, though often overshadowed by his poetry, demonstrate a keen artistic sensibility and a mastery of watercolor technique—a skill honed through years of observation and practice. He was a true polymath – artist, illustrator, musician (he composed musical settings for Tennyson’s poems), author, and poet – whose diverse talents converged to create a unique and enduring legacy. His work continues to inspire artists, writers, and dreamers alike, reminding us that even amidst darkness, there is always room for light, laughter, and the boundless possibilities of the human spirit. He achieved considerable renown as an illustrator, notably contributing to publications by John Ruskin and Tennyson, showcasing his versatility and artistic vision. Lear’s paintings can be found in esteemed collections like The Ashmolean Museum, Oxford—a testament to his skill as a landscape artist and his enduring contribution to Victorian art.

    Loe lähemalt siit

    Leidke seda internetist

    QR-kood, mis viib Massa Looking Towards Vesuvius allalaadimislehele

    wikioo.org/et/art/download/edward-lear-massa-looking-towards-vesuvius-8LHSKA-en/

    Viige seda teost allintena

    MLA
    Lear, Edward. Massa Looking Towards Vesuvius. n.d., https://wikioo.org/et/art/edward-lear-massa-looking-towards-vesuvius-8LHSKA-en/
    APA
    Lear, Edward (n.d.). Massa Looking Towards Vesuvius [Painting]. https://wikioo.org/et/art/edward-lear-massa-looking-towards-vesuvius-8LHSKA-en/
    Chicago
    Edward Lear. Massa Looking Towards Vesuvius. n.d. https://wikioo.org/et/art/edward-lear-massa-looking-towards-vesuvius-8LHSKA-en/
    Harvard
    Lear, Edward (n.d.) Massa Looking Towards Vesuvius. Available at: https://wikioo.org/et/art/edward-lear-massa-looking-towards-vesuvius-8LHSKA-en/

    Vaata lähedalt

    Massa Looking Towards Vesuvius — Edward Lear

    Vaata lähemalt

    Vasta oma sõnadega. Siin ei ole vale vastuseid — on vaid vastuseid, mida saad selgitada.

    1. Mis esimesena silma kõige rohkem paneb ja miks?
    2. Millised värvid või kujundid loovad meeleolu — ja milline see meeleolu on?
    3. Kui palju näiteid sa leiad? ____ (meie kataloog loeb 3 — kas oled sama arvamust?)
    4. Meie kataloog liigitab seda teost kategooria landscape alla. Olete nõus? Mida te lisaksin või eemaldasite?
    5. Vaadake tagasi selle juhendi alguses esitatud teosele Mount Athos and the Monastery of Stavronikétes (1857). Tooge kaks asja, mis seda teost sellega ühendavad, ning üks erinevus.

    Teie vastus

    Kirjutage sellest teosest lühike lõik, kasutades selle juhendi varasemate osade fakte ja eelmist annetud vastuseid.

    Korduvad küsimused

    Kui eraldavad teose "Massa Looking Towards Vesuvius" värvid?

    Teose „Massa Looking Towards Vesuvius“, autor Edward Lear värvid on Subtle Color kütkusega ja Monochromatic intensiivsusega.

    Millist värvigamma teos "Massa Looking Towards Vesuvius" kasutab?

    Teose „Massa Looking Towards Vesuvius“, autor Edward Lear väripalett on kirjeldatud kui Earthy. See on lühike kirjeldus teose värvide kohta.

    Kas teos „Massa Looking Towards Vesuvius“, autor Edward Lear on värvitoonilt kerge või tumenev?

    Teose "Massa Looking Towards Vesuvius" üldine ere on deep_shadow ning selle luminants on Dark.