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Gids voor studentenkunst

Damascus 3

Naam Klas Datum

Edward Lear, Damascus 3. Publiek domein

De feiten

Kunstenaar
Edward Lear wikioo.org/nl/artists/edward-lear_nl/
Geboortedatum en -overlijden kunstenaar
1812 – 1888

In context

Damascus 3 — Edward Lear

Wanneer zou dit geschilderd kunnen zijn?

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

Row above: the year. Row below: the artist's age in that year.

Shaded: het leven van Edward Lear (1812–1888)

First works: up to 1858 Main working years: 1858–1872 Late works: from 1872

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell.

Voor deze opname is geen exacte datum bekend — uitgaande van de levensloop van de artiest en de stijl van het werk, in welk decennium zou u dit plaatsen?

Vergelijkbare werken

Kies een van de bovenstaande werken: noem twee overeenkomsten met dit werk en één verschil.

Meer werken om naast dit werk te plaatsen: wikioo.org/nl/art/similar/edward-lear-damascus-3-8LHSHA-en/

Kleurenpalet

Gemeten op basis van de afbeelding

    Hoofdkleur

    Gray #7b8683

    Gecatalogiseerd palet

    • #7B8683
    • #B99767
    • #EED9B2
    • #CAB693
    Palet
    Neutrals De dominante kleurfamilie in de afbeelding.
    Naam hoofdkleur
    Gray
    Intensiteit
    Vivid De mate van verzadiging en variatie in de kleuren, variërend van een enkele ingetogen tint tot vele heldere kleuren.
    Contrast
    Gentle De mate waarin de kleuren in helderheid en verzadiging variëren over het gehele kunstwerk.
    Harmonie
    Strong Color Unity De mate waarin de kleuren samensmelten, van contrasterend tot volledig harmonieus.
    Helderheid
    Brilliant Hoe licht of donker het beeld in zijn geheel oogt, van diepe schaduw tot helder hoogtepunt.
    Verzadiging
    Balanced Soft Hoe puur en krachtig de kleuren zijn, van bijna grijs tot volledig levendig.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Edward Lear over the last twelve months — 12 countries in all.

    The ten leading countries

    1. 1 China 67,8%
    2. 2 Verenigde Staten van Amerika 13,0%
    3. 3 Hongkong 4,8%
    4. 4 Singapore 4,8%
    5. 5 Roemenië 3,4%
    6. 6 Australië 1,4%
    7. 7 Verenigd Koninkrijk 1,4%
    8. 8 Brazilië 0,7%
    9. 9 Zwitserland 0,7%
    10. 10 Spanje 0,7%
    11. · 2 other countries 1,3%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Edward Lear

    1. 1 The Temple of Apollo at Bassae, 1855 2,0%
    2. 2 Road near Galle, Ceylon, 1879 2,0%
    3. 3 De Bergen van Thermopylae, 1852 2,0%
    4. 4 Study Of Palm Trees 2,0%
    5. 5 The Pyramids of Ghizeh, 1873 2,0%
    6. 6 The nile at kaasr-es-saiyyad 2,0%
    7. 7 Esneh On The Nile, Near Luxor, Egypt 2 2,0%
    8. 8 Certosa Di Pesio Con Le Missioni Della Consolata 2,0%
    9. 9 View Over The Lake, Kandy, Ceylon 2,0%
    10. 10 Damascus 3 this painting 2,0%
    11. 11 View of Florence from Villa San Firenze, 1862 1,3%
    12. 12 Launce and His Dog 1,3%
    13. 13 Ceylon Scenery 1,3%
    14. 14 Walls Of Constantinople 1,3%
    15. 15 Figure On A Balcony Overlooking The Citadel, Corfu 1,3%
    16. 16 Porta Maggiore, Rome 1,3%
    17. 17 Smakieras, Corfu 1,3%
    18. 18 Erbalunga, Corsica 1,3%
    19. 19 Piazza Di Spagna, Rome 1,3%
    20. 20 Maharraga, Upper Egypt 1,3%

    Together these works take 33,0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 395 works by this artist, of which 112 were looked at at least once. This painting ranks 10 of them, with 2,0% of that attention.

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Kunstenaar en museum

    Kunstenaar

    Edward Lear

    Geboren in Londen, Verenigd Koninkrijk

    A Life Painted in Nonsense and Light

    Edward Lear, a name inextricably linked to whimsical verse and delightfully peculiar illustrations, was far more than simply the creator of limericks and fantastical creatures. Born in 1812 in Holloway, North London, into a family teeming with twenty-one children – a chaotic yet vibrant microcosm of Victorian life – his early years were marked by both financial instability and an undeniable artistic talent. His father, Jeremiah Lear, faced considerable hardship following the Napoleonic Wars, forcing young Edward to begin earning a living through his drawings at the tender age of fifteen. This necessity, surprisingly, ignited a lifelong passion that would propel him across continents, capturing the world in vibrant hues and playful lines. The shadow of familial difficulty – compounded by early health challenges including epilepsy and bouts of melancholia he himself termed “the Morbids” – instilled within Lear a gentle solitude and an inclination towards imaginative escape, qualities that profoundly shaped his art and writing.

    From Ornithological Precision to Landscape’s Embrace

    Lear's artistic journey began with a remarkable level of precision. Initially employed by the Zoological Society, he honed his skills illustrating birds and animals, demonstrating an extraordinary eye for detail and anatomical accuracy. This early work wasn’t merely technical; it was imbued with a deep respect for the natural world – a fascination that would become central to his later landscape paintings. His illustrations were meticulously rendered, capturing the subtle nuances of plumage and form with astonishing realism. This dedication brought him to the attention of Edward Stanley, the 13th Earl of Derby, who commissioned Lear to document the exotic creatures residing within his private menagerie at Knowsley Hall near Liverpool. These years spent amongst lions, tigers, and parrots weren’t just a job; they fostered a profound connection with the animal kingdom – a connection that would inform his later artistic vision. However, failing eyesight and increasingly debilitating respiratory issues eventually led him away from the exacting demands of ornithological illustration. He turned instead to landscape painting, embarking on extensive travels throughout Europe and beyond, seeking respite for his health and inspiration for his art. Italy became a particular haven – not just for its beauty but also for its perceived healing qualities. His landscapes, characterized by delicate watercolors and an atmospheric sensitivity, often depicted the subtle shifts of light and shadow, revealing a remarkable understanding of color and composition.

    The Poet of Nonsense: A World Unbound

    While celebrated as a painter, it is perhaps for his literary contributions that Edward Lear is most widely remembered. His “nonsense” poetry – particularly his limericks – revolutionized children’s literature and captivated audiences of all ages. A Book of Nonsense, published in 1846 under the pseudonym "Derry down Derry," 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 didn't simply invent nonsense words; he crafted entire worlds governed by their own internal rules, inviting readers to suspend disbelief and embrace the joy of imagination. 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. He wasn’t simply writing jokes; he was exploring themes of loneliness, longing, and the inherent absurdity of existence – all wrapped in a veneer of whimsicality. His work challenged established poetic conventions, prioritizing playful experimentation over rigid structure.

    Influences and Artistic Development

    Lear's artistic development was shaped by a complex interplay of influences:

    Early Influences: Lear’s initial training focused on scientific illustration, demanding precision and observation. This foundation instilled in him a meticulous attention to detail, which he carried through his later work.

    Travel & Landscape Painting: His extensive travels throughout Europe and Asia profoundly influenced his landscape style. He absorbed the light, colors, and textures of these diverse regions, developing a distinctive approach characterized by atmospheric perspective and delicate brushwork.

    Literary Inspiration: While he popularized the limerick, Lear was also inspired by earlier nonsense verse traditions. His unique contribution lay in his ability to imbue this form with emotional depth and lyrical beauty.

    Personal Experiences: Lear’s lifelong struggles with health issues and melancholy deeply informed his artistic vision. The sense of isolation and longing that permeates much of his work reflects his own personal experiences.

    A Legacy of Innovation and Enduring Charm

    Edward Lear's influence extends far beyond the realm of children's literature. He pioneered 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. 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. He challenged conventional boundaries, blurring the lines between art, literature, and music. His work continues to inspire artists, writers, and dreamers alike, reminding us of the power of imagination and the beauty of embracing the absurd. His paintings can be found in esteemed collections like The Ashmolean Museum, Oxford, a testament to his skill as a landscape artist. Lear’s life, marked by both personal struggles and creative triumphs, serves as a poignant reminder that even amidst darkness, there is always room for light, laughter, and the boundless possibilities of the human spirit.

    Lees meer op

    Online beschikbaar

    QR-code die linkt naar de downloadpagina van Damascus 3

    wikioo.org/nl/art/download/edward-lear-damascus-3-8LHSHA-en/

    Bronvermelding voor dit kunstwerk

    MLA
    Lear, Edward. Damascus 3. n.d., https://wikioo.org/nl/art/edward-lear-damascus-3-8LHSHA-en/
    APA
    Lear, Edward (n.d.). Damascus 3 [Painting]. https://wikioo.org/nl/art/edward-lear-damascus-3-8LHSHA-en/
    Chicago
    Edward Lear. Damascus 3. n.d. https://wikioo.org/nl/art/edward-lear-damascus-3-8LHSHA-en/
    Harvard
    Lear, Edward (n.d.) Damascus 3. Available at: https://wikioo.org/nl/art/edward-lear-damascus-3-8LHSHA-en/

    Bekijk het van dichtbij

    Damascus 3 — Edward Lear

    Kijk eens goed

    Beantwoord de vragen in je eigen woorden. Er zijn hier geen foute antwoorden — alleen antwoorden die je kunt toelichten.

    1. Wat valt u als eerste op, en waarom?
    2. Welke kleuren of vormen bepalen de sfeer — en wat is die sfeer?
    3. Hoeveel gezichten kun je vinden? ____ (onze catalogus telt 5 — ben je het ermee eens?)
    4. In onze catalogus is dit werk geclassificeerd onder: sea. Bent u het hiermee eens? Wat zou u toevoegen of weglaten?
    5. Kijk nog eens naar Mount Athos and the Monastery of Stavronikétes (1857), eerder in deze gids. Noem twee overeenkomsten met dit werk en één verschil.

    Uw reactie

    Schrijf een korte paragraaf over dit kunstwerk aan de hand van de feiten uit de eerdere delen van deze gids en uw bovenstaande antwoorden.

    Vragen & Antwoorden

    Wie verkoopt handgeschilderde reproducties van "Damascus 3" door Edward Lear?

    "Damascus 3" is verkrijgbaar als een met de hand geschilderde olieverfreproductie op linnen canvas. De bestelling kan worden geplaatst via deze pagina, met een keuze uit verschillende formaten.

    Aan welke kunstenaar wordt "Damascus 3" toegeschreven?

    "Damascus 3" wordt toegeschreven aan Edward Lear.

    Hoe komen contrast en harmonie samen in "Damascus 3"?

    De kleurcompositie van "Damascus 3" door Edward Lear combineert een Gentle contrast met een Strong Color Unity harmonie.

    Hoe kan ik een print van "Damascus 3" door Edward Lear verkrijgen?

    Om een print van "Damascus 3" door Edward Lear te bemachtigen, kunt u deze eenvoudig bestellen op deze pagina: een fine art print op katoenen canvas of archiefwaardig canvaspapier.

    Waar gaat "Damascus 3" over?

    "Damascus 3" door Edward Lear toont: sea.

    Hoe brengt "Damascus 3" licht en donker in evenwicht?

    De helderheid van "Damascus 3" door Edward Lear is vastgelegd op brilliant, met een luminantie van Bright Balance.

    Wat is de dominante kleur van "Damascus 3" door Edward Lear?

    Gray (#7b8683) is de dominante kleur van "Damascus 3" door Edward Lear.