Gids voor studentenkunst
Copyright Dit werk bevindt zich in het publiek domein. John White overleed in 1915; het auteursrecht blijft 70 jaar na de dood van de kunstenaar van kracht, waardoor dit in 1985 is verlopen.
In context
Indians Dancing — John White
Bovenste rij: de jaren. Onderste rij: de leeftijd van de kunstenaar aan het begin en het einde van elke periode — 0 bij de geboorte, 59 bij het overlijden.
Shaded: het leven van John White (1856–1915) elk gedateerd schilderij, decennium voor decennium
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?
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/john-white-indians-dancing-9CWKK6-en/
Gemeten op basis van de afbeelding
Hoofdkleur
Putty #e0d5bf
Gecatalogiseerd palet
Deze kleuren binnen het volledige palet van de kunstenaar Zoek andere schilderijen op kleur
De tien belangrijkste landen
Zoek de drie donkerste landen op de kaart. Bevindt het museum waar dit schilderij wordt bewaard zich in een van deze landen? Noteer één reden waarom mensen van ver zouden kunnen komen om het te bekijken.
Samen maken deze werken 100,0% uit van alle aandacht die de schilderijen van deze kunstenaar in de afgelopen twaalf maanden hebben gekregen. De catalogus bevat 10 werken van deze kunstenaar, waarvan 4 minstens één keer zijn bekeken. Dit schilderij heeft in die periode nog geen weergaven — het sluit de lijst af zonder rangorde. Hetzelfde geldt voor elke maand
Staven meten aandacht, niet kwaliteit. Kies het werk bovenaan en dit werk: noem één ding dat een schilderij beroemd zou kunnen maken, los van hoe goed het geschilderd is.
Kunstenaar en museum
Geboren in London, United Kingdom
Born in London around 1540, John White’s life was a remarkable convergence of exploration, artistry, and historical significance. He wasn't merely an artist; he was a pivotal figure in the earliest attempts to establish English settlements in North America, serving as both chronicler and visual recorder of a nascent society. His legacy rests not only on his exquisite watercolor paintings but also on his role as governor of Roanoke Island during the ill-fated “Lost Colony” – a story that continues to fascinate centuries later.
White’s early life remains shrouded in some mystery, with the exact details of his birth and training difficult to definitively confirm. Records suggest he was christened on February 22, 1539, though this date is subject to debate. What is known is that he possessed a keen artistic talent, likely nurtured through apprenticeship within London’s thriving illustration scene during the late sixteenth century. This foundational training would prove crucial as he embarked on his extraordinary journey across the Atlantic.
In 1585, John White joined Sir Ralph Lane's expedition to Roanoke Island, a venture intended to establish a permanent English foothold in North America. As artist and mapmaker for the expedition, he meticulously documented the landscape and its indigenous inhabitants – primarily the Algonkin people. These watercolors, now treasured within the British Museum’s print room, represent an unparalleled visual record of Native American life on the Eastern Seaboard during that era. Unlike many contemporary depictions, White's work strives to portray the Algonkin with a degree of respect and accuracy, capturing their clothing, tools, dwellings, and social customs.
His sketches weren’t simply observational; they were imbued with a sense of curiosity and an attempt to understand the culture he encountered. He depicted scenes of daily life – fishing, hunting, farming – alongside portraits of individuals, offering invaluable insights into their beliefs and practices. These images stand as some of the earliest and most detailed visual representations of Native American societies in North America, providing a crucial window into a vanished world.
In 1587, White was appointed governor of the second attempt at establishing a permanent colony on Roanoke Island. This venture, led by Sir Walter Raleigh, aimed to create a self-sustaining settlement but ultimately failed. White’s tenure as governor was fraught with challenges – disease, dwindling supplies, and strained relations with the native Algonkin. Despite these difficulties, he persevered, attempting to maintain order and foster cooperation.
The most poignant aspect of White's governorship is the mystery surrounding the colony’s disappearance in 1590. Upon his return from England for supplies, he found Roanoke deserted, with only a cryptic message carved into a post: “CROATOAN.” This enigmatic clue has fueled countless theories and expeditions over the centuries, cementing the Lost Colony as one of America's most enduring historical puzzles.
Following the failure of the colony, John White returned to England and spent his remaining years reflecting on the “evils and unfortunate events” that had led to Roanoke’s demise. Despite this disappointment, he never entirely abandoned hope for the survival of his daughter and granddaughter, who were believed to be among those lost at Roanoke.
White's artistic output continued throughout his retirement, producing works like “Panel for Music Room,” a refined example of his watercolor style characterized by delicate detail and subtle color palettes. He also became involved in the arts community in Ireland, contributing to the aesthetic movement of his time. John White’s legacy extends far beyond his beautiful paintings; he remains an essential figure in American history, a witness to the dawn of colonization, and a poignant reminder of the complexities and tragedies inherent in the pursuit of new frontiers.
White's watercolor technique is notable for its meticulous observation and delicate rendering. He employed a loose, expressive style, capturing the textures of the landscape and the nuances of human expression with remarkable skill. His work demonstrates an understanding of light and shadow, creating atmospheric depth and a sense of realism. While his training in London likely provided him with foundational skills, it’s believed he was influenced by the burgeoning artistic trends of the time, particularly the works of Flemish masters known for their detailed landscapes.
His depictions of Native Americans are particularly noteworthy for their attempt to represent them accurately and respectfully, a rarity in contemporary European art. He avoided stereotypical portrayals, instead focusing on capturing their daily lives and cultural practices.
wikioo.org/nl/art/download/john-white-indians-dancing-9CWKK6-en/
Bekijk het van dichtbij
Indians Dancing — John White
Beantwoord de vragen in je eigen woorden. Er zijn hier geen foute antwoorden — alleen antwoorden die je kunt toelichten.
Schrijf een korte paragraaf over dit kunstwerk aan de hand van de feiten uit de eerdere delen van deze gids en uw bovenstaande antwoorden.
Over het algemeen wordt "Indians Dancing" geregistreerd als brilliant. De waargenomen helderheid beschrijft hoe licht of donker het werk oogt.
De auteursrechtstatus van "Indians Dancing" - bevindt zich in het publiek domein - de auteursrechten zijn verlopen - is gebaseerd op het overlijden van de kunstenaar in 1915.
De kleuren van "Indians Dancing" door John White vertonen een Subtle Color verzadiging met een Balanced intensiteit.