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Study for Evening

Ime Razred Datum

Kenyon Cox, Study for Evening (1883), Smithsonian American Art Museum. Javna lastnina. Oglejte si to platno pod premikajočo svetlobo: risbe, pravo barvo pod lakom in golo pigmentacijo

Dejavnice

Umetnik
Kenyon Cox wikioo.org/sl/artists/kenyon-cox/
Datumi rojstva in smrti umetnika
1856 – 1919
Naslikano
1883
Prvotna velikost
51 x 41 cm
V mestu/lokaciji
Smithsonian American Art Museum wikioo.org/sl/museums/smithsonian-american-art-museum-washington-d-c_sl/

V kontekstu

Study for Evening — Kenyon Cox

Kakšna je velikost?

Prvotne dimenzije so 51 × 41 cm (višina × širina), prikazane tukaj v primerjavi z odraslo osebo povprečne višine.

Kdaj je bilo to naslikano?

  1. 1850
  2. 1860
  3. 1870
  4. 1880
  5. 1890
  6. 1900
  7. 1910

Zgornja vrstica: leta. Spodnja vrstica: starost umetnika na začetku in koncu vsakega obdobja — 0 ob rojstvu, 63 ob smrti.

Naslikano, ko je bil avtor star 27. Umetnik je doživel 63 let. 9 od 74 datiranih del tega umetnika v našem katalogu je nastalo prej.

Osenčeno: življenjsko obdobje Kenyon Cox (1856–1919) ▲ to delo, 1883 vsaka datirana slika, desetletje za desetletjem

Prva dela: do 1888 Glavni delovni leti: 1888–1910 Pozna dela: od 1910

Ti trije pasovi razdelijo dela v tem katalogu, za katera imamo datum, na prvo četrtino, srednjo polovico in zadnjo četrtino. Ne predstavljajo umetnikove popolne produkcije: tanjka obdobja lahko pomeni luknjo v arhivu in ne le obdobje manj intenzivnega ustvarjanja. Iste leta, ki spremljajo življenjsko pot umetnika

Primerjajte z

Izberite eno od zgoraj navedenih del: navedite dve stvari, ki sta si z njim skupni, in eno stvar, ki je drugačna.

Več podobnih del za kombiniranje z tem: wikioo.org/sl/art/similar/kenyon-cox-study-for-evening-AS7RMT-en/

Barvna paleta

Izmerjeno na podlagi slike

    Glavna barva

    Phthalo Green #1b1d14

    Katalogirana paleta

    • #1B1D14
    • #80603F
    • #B1875E
    • #DDB488

    Te barve v celotni umetnikovi paleti Poiščite druge slike po barvi

    Paleta barv
    Earthy Prevladujoča barvna družina na sliki.
    Ime glavne barve
    Phthalo Green
    Intenzivnost
    Balanced Stopnja zasičenosti in raznolikost barv, od enotnega, zamegljenega odtisa do številnih živahnih barv.
    Kontrast
    Statement V kolikšni meri se barve po svetlini in zasičenosti razlikujejo skozi celotno sliko.
    Harmonija
    Balanced Harmony Stopnja harmonije barv, od kontrastnih do popolnoma ujednotenih.
    Svetlina
    Deep_shadow Razmera svetloosti in temnine slike v celoti, od globokih senc do svetlih visokih svetlob.
    Zasičenost
    Subtle Color Barve so izjemno čiste in močne, od skoraj sivih do popolnoma živahnih.

    Kje po svetu se gleda ta slika?

    • pod 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% in več
    Ta slika sama po sebi nima dovolj zabeleženih obiskovalcev za izdelavo zemljevida, zato plošča prikazuje vsako del avtorja Kenyon Cox v zadnjih dvanajst mesecih — skupaj 4 držav. Vir podatkov

    Deset vodilnih držav

    1. 1 Kitajska 81,1%3.000 obiskov
    2. 2 Združene države Amerike 10,8%400 obiskov
    3. 3 Singapur 5,4%200 obiskov
    4. 4 Libanon 2,7%100 obiskov

    Na zemljevidu poiščite tri najtemnejše države. Ali se muzej, ki čuva to sliko, nahaja v kateri izmed njih? Zapišite en razlog, zakaj bi jo lahko obiskovali ljudje z daljave.

    20 najbolj gledanih del umetnika Kenyon Cox

    1. 1 After Boltraffio, Sacra Conversazione, 1882 7,3%300 obiskov
    2. 2 Study for Mosaic, Wisconsin State Capitol,, 1912 4,9%200 obiskov
    3. 3 Nude Study for Mosaic, Wisconsin State Capitol,, 1912 4,9%200 obiskov
    4. 4 Study for Christ, 1905 4,9%200 obiskov
    5. 5 Study for Mosaic, Wisconsin State Capital, Justice, 1913 4,9%200 obiskov
    6. 6 Head of the Queen of Egypt, 1888 4,9%200 obiskov
    7. 7 The Fall, 1892 4,9%200 obiskov
    8. 8 (Untitled) (Greco Roman Discus Thrower), 1873 4,9%200 obiskov
    9. 9 (Iowa State Capitol Rotunda) (Hunting, study for panel), 1905 4,9%200 obiskov
    10. 10 Study for Mural for Appellate Court Building, New York Statute Law , Helmet for Figure of Force, 1899 2,4%100 obiskov
    11. 11 Study for Mosaic, Wisconsin State Capitol,, 1912 2,4%100 obiskov
    12. 12 Nude Study for Mosaic, Wisconsin State Capitol,, 1912 2,4%100 obiskov
    13. 13 Sketch for the Mural at Oberlin College, The Spirit of Self Sacrificing Love, 1914 2,4%100 obiskov
    14. 14 Study for Science Instructing Industry, 1898 2,4%100 obiskov
    15. 15 After Titian's Madonna of the Rabbit, 1882 2,4%100 obiskov
    16. 16 Sketch for Mosaic, Wisconsin State Capital, Justice, 1912 2,4%100 obiskov
    17. 17 An Eclogue, 1890 2,4%100 obiskov
    18. 18 Study for mosaic in the Wisconsin State Capital Government and Liberty, 1912 2,4%100 obiskov
    19. 19 Book of Pictures, 1917 2,4%100 obiskov
    20. — Study for Evening, 1883 ta slika 0,0%0 obiskov

    Skupaj ti deli predstavljajo 70,5% vse pozornosti, ki so platna te umetnice dobila v zadnjih dvanajst mesecih. Katalog vsebuje 76 del te umetnice, pri čemer je bilo 31 vsaj enkrat ogledanih. Ta slika v tem obdobju še ni bila ogledana — zaključuje seznam brez uvrstitve. Isto velja tudi za posamezne mesece

    Stolpci merijo pozornost, ne kakovost. Izberite del na vrhu in ta: navedite eno stvar, ki bi lahko naredila sliko znano poleg tega, kako je dobro naslikana.

    Umetnik in muzej

    Umetnik

    Kenyon Cox

    Rojen v Warren, United States

    Kenyon Cox: Life and Legacy

    Early Life and Education

    Born: October 27, 1856, in Warren, Ohio.

    Parents: Jacob Dolson Cox and Helen Finney Cox.

    Kenyon Cox initially studied at the Art Academy of Cincinnati (formerly the McMicken School of Art). However, he quickly recognized the limited artistic opportunities available in the city.

    Following a visit to the Centennial Exposition in Philadelphia, he decided to pursue further education at the Pennsylvania Academy of Fine Arts, hoping it would lead to studies in Europe.

    Parisian Training and Influences

    In 1877, Cox moved to Paris, joining a wave of American artists seeking artistic inspiration. He believed Paris was experiencing a “second renaissance” in art.

    Influential Teachers: Carolus-Duran, Jean-Léon Gérôme, and Alexandre Cabanel at the École des Beaux-Arts.

    He initially studied under Carolus-Duran but became frustrated with what he perceived as a “vulgarity” in Duran’s style.

    Travels throughout France and Italy exposed him to the works of Renaissance masters, profoundly shaping his artistic vision.

    Career in New York and Artistic Style

    In 1882, Cox returned to New York City, where he established himself as a painter and illustrator.

    Illustration Work: He became well-known for his magazine illustrations, which reached a wider audience than his paintings.

    Art Criticism: Cox also wrote unsigned art criticisms for the New York Evening Post, supplementing his income.

    His artistic style leaned towards realism, with a focus on landscapes, portraits, and genre studies. He was known for idealized nudes and traditional treatments of classical themes.

    Teaching and Institutional Involvement

    Art Students League of New York: Cox became a highly influential instructor at the Art Students League, shaping generations of artists. He designed the League’s logo featuring the motto “Nulla Dies Sine Linea” (No Day Without a Line).

    Elected an Associate Academician of the National Academy of Design in 1900 and a full Academician in 1903.

    Founding Member: He was one of the founders and secretary of the National Free Arts League.

    Leadership Roles: Served as president of the National Society of Mural Painters from 1915 to 1919, and held memberships in various prestigious art organizations.

    Major Achievements and Historical Significance

    Cox’s work represented a commitment to classical ideals at a time when modern art movements were emerging. He advocated for careful drawing, modulated color, and the use of allegory and symbolism.

    His writings, such as “Two Ways of Painting,” articulated his views on figurative art versus abstract or representational styles.

    Legacy: Though not a radical innovator, Kenyon Cox played a crucial role in maintaining traditional artistic standards and educating aspiring artists. His influence extended through his teaching and his contributions to the American art establishment.

    Death: March 17, 1919.

    Muzej

    Smithsonian American Art Museum

    Na razstavi v Washington, D.C., Združene države Amerike

    A Chronicle of American Identity: The Smithsonian American Art Museum

    Nestled within the venerable Old Patent Office Building in Washington, D.C., the Smithsonian American Art Museum is more than simply a repository for artistic treasures; it’s a profoundly resonant chronicle of the United States itself. Stepping through its grand doors feels akin to embarking on a journey into the very heart of America – a sprawling narrative woven from the threads of colonial landscapes, poignant social commentaries, groundbreaking artistic innovations, and the diverse voices that have shaped our nation's cultural identity. The building’s presence, originally conceived as a showcase for American ingenuity during the 19th century, provides an unexpectedly powerful backdrop to the artwork within; its soaring ceilings, intricate detailing, and sense of monumental scale whisper tales of innovation and progress, elevating every piece on display with a subtle yet undeniable grandeur. The juxtaposition of this industrial-era architecture with the vibrant expressions of American art creates a dialogue across time, prompting reflection on the nation’s evolving values and artistic sensibilities.

    The museum's collection is an astonishingly diverse tapestry, spanning centuries and encompassing a breathtaking range of artistic styles. From the evocative landscapes of Frederic Church and Thomas Moran, capturing the untamed grandeur of the American West with their luminous colors and dramatic compositions – images that once fueled westward expansion and romanticized the frontier – to the sharp social critiques of Edward Hopper and Dorothea Lange, documenting the stark realities of the Great Depression through hauntingly intimate portraits that expose human vulnerability and resilience, SAAM offers a panoramic view of the nation’s visual history. You'll encounter the vibrant folk art traditions of self-taught artists like Florence Scovel Shinn, whose whimsical illustrations captured everyday life with charming detail, and Ralston Crawford, who masterfully depicted urban landscapes and industrial scenes, reflecting the dynamism and anxieties of early 20th-century America. Alongside these familiar figures, SAAM proudly showcases the iconic works of Georgia O’Keeffe, whose abstract floral paintings continue to captivate viewers with their bold colors, intimate perspectives, and profound exploration of form and nature; and a significant collection of Native American art, reflecting the rich artistic traditions of diverse tribes across the country – a vital and often underrepresented element of America's artistic heritage. Notable highlights include Winslow Homer’s masterful depictions of coastal life, offering a poignant glimpse into America’s complex relationship with the sea, and the museum’s extensive holdings of works by African American artists, whose contributions have often been overlooked but are now rightfully celebrated for their power, beauty, and social commentary.

    Architectural Echoes and Contemporary Dialogue

    The Old Patent Office Building itself is an integral part of the SAAM experience. Constructed in 1855 as a showcase for American inventions – a symbol of ingenuity and progress during the Industrial Revolution – its neoclassical design and expansive spaces provide a stunning setting for the museum’s collection. The building’s original purpose, celebrating innovation, subtly mirrors the museum’s own mission: to explore and celebrate the creative spirit of America. The juxtaposition of this grand, functional space with the diverse range of artistic expressions within creates an intriguing tension – a reminder of the constant interplay between progress and tradition, industry and art. The addition of the Renwick Gallery in 1972, housed just blocks away, broadened SAAM’s scope and championed craft traditions alongside fine art, further enriching the museum's narrative. This deliberate pairing highlights the ongoing evolution of American creativity – a conversation between past masters and present-day makers, demonstrating how artistic forms adapt and transform over time.

    Current Explorations: Stories in Every Frame

    Currently, SAAM is hosting several compelling exhibitions that illuminate diverse facets of the American experience. “State Fairs: Growing American Craft” offers a fascinating look at the artistic contributions to this uniquely American tradition, celebrating the creativity and skill of fair artists across the country – from intricate quilts to dazzling ceramics. “Shahzia Sikander: The Last Post,” a powerful multimedia installation by Pakistani-American artist Shahzia Sikander, critically examines the legacy of British colonialism through the lens of Indo-Persian miniature painting—a truly thought-provoking exploration of cultural exchange and historical perspective. And don’t miss “Cecilia Vicuña: Quipu Viscera,” an immersive installation that utilizes unspun wool to explore themes of memory, identity, and indigenous rights – a poignant reminder of the enduring struggles for recognition and justice. These exhibitions, alongside the museum's permanent collection, offer visitors a rich and rewarding experience, showcasing the breadth and depth of American artistic expression.

    A Legacy of Access and Engagement

    Beyond its impressive collection and architectural splendor, SAAM is deeply committed to education and accessibility. It provides extensive resources for students, teachers, and art enthusiasts alike through online databases and engaging programs. The museum’s free admission policy ensures that its treasures are accessible to all, fostering a deeper appreciation for American art and culture within the community and beyond. Visiting SAAM isn't simply an opportunity to view beautiful objects; it is an invitation to connect with the nation’s history, celebrate its diversity, and engage in a meaningful exploration of what it means to be American – a vibrant testament to the enduring power of artistic expression.

    Kje si lahko preberete več

    Skenirajte za več informacij

    QR koda za dostop do strani za prenos Study for Evening

    wikioo.org/sl/art/download/kenyon-cox-study-for-evening-AS7RMT-en/

    Citiranje umetniškega dela

    MLA
    Cox, Kenyon. Study for Evening. 1883, Smithsonian American Art Museum. https://wikioo.org/sl/art/kenyon-cox-study-for-evening-AS7RMT-en/
    APA
    Cox, Kenyon (1883). Study for Evening [Painting]. Smithsonian American Art Museum. https://wikioo.org/sl/art/kenyon-cox-study-for-evening-AS7RMT-en/
    Chicago
    Kenyon Cox. Study for Evening. 1883. Smithsonian American Art Museum. https://wikioo.org/sl/art/kenyon-cox-study-for-evening-AS7RMT-en/
    Harvard
    Cox, Kenyon (1883) Study for Evening. Smithsonian American Art Museum. Available at: https://wikioo.org/sl/art/kenyon-cox-study-for-evening-AS7RMT-en/

    Oglejte si bližje

    Study for Evening — Kenyon Cox

    Poglejte bližje

    Odgovorite z lastnimi besedami. Tukaj ni napačnih odgovorov — so le odgovori, ki jih lahko razložite.

    1. Kaj vas najprej pritegne in zakaj?
    2. Katere barve ali oblike ustvarjajo vzdušje — in kakšno je to vzdušje?
    3. Oglejte si Augustus Saint-Gaudens (1908), ki ste ga že videli v prejšnjih delih tega priročnika. Navedite dve stvari, ki jih deli z tem delom, in eno, ki ga loči od njega.
    4. Kenyon Cox je bil star približno 27, ko je bilo to delo ustvarjeno. Kaj v njem opazite kot značilno za umetnika v tem obdobju?
    5. Kaj je imel avtor morda v mislih, ko je želel, da bi občutil?

    Vaš odgovor

    Napišite kratek odstavek o tem umetniškem delu. Uporabite dejstva iz prejšnjih delov tega priročnika in svoje odgovore zgoraj.

    Vprašanja in odgovori

    Ali so barve v delu "Study for Evening" avtorja Kenyon Cox nasičene ali utemeljene?

    Barve dela "Study for Evening" avtorja Kenyon Cox imajo Subtle Color zasičenost. Zasičenost opisuje, kako živahne ali utišane so barve.

    Ali je "Study for Evening" avtorja Kenyon Cox svetlo ali temno umetniško delo?

    "Study for Evening" avtorja Kenyon Cox je zabeležen z jasnostjo deep_shadow in luminanco Soft Shadow.

    Katera barvna podlaga preteka skozi "Study for Evening" avtorja Kenyon Cox?

    Ochre to Sepia odtenek prežema celotno skladbo "Study for Evening" avtorja Kenyon Cox.