Guide til elevkunst
Ophavsret Dette værk er i det offentlige domæne. Flora Macdonald Reid døde i 1938; ophavsretten varer 70 år efter kunstnerens død, så den udløb i 2008.
I kontekst
A Doubtful Customer — Flora Macdonald Reid
Originalen måler 36 × 26 cm (højde × bredde), vist her ved siden af en voksen person af gennemsnitlig højde.
Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 78 ved død.
Malet da kunstneren var 42 år gammel. Kunstneren blev 78 år gammel. 4 af de 10 daterede værker af denne kunstner i vores katalog er skabt tidligere.
Skyggelagt: Flora Macdonald Reid' livstid (1860–1938) ▲ dette værk, 1902 hvert dateret maleri, årti for årti
Første værker: frem til 1895 Primære arbejdsår: 1895–1905 Senere værker: fra 1905
Disse tre intervaller opdeler de værker i denne katalog, der er dateret, i et første kvartal, en midterste halvdel og et sidste kvartal. De udgør ikke kunstnerens samlede produktion: en tynd periode kan være et hul i dokumentationen snarere end en stille periode. De samme år, som kunstnerens liv er vævet ind i dem
Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.
Se flere lignende værker her: originaluniqueart.com/da/art/similar/flora-macdonald-reid-a-doubtful-customer-AQUCZY-en/
Målt ud fra billedet
Primær farve
Espresso #423a26
Katalogiseret palet
Disse farver i kunstnerens samlede palet Find andre malerier efter farve
De ti førende lande
Find de tre mørkeste lande på kortet. Findes det museum, der opbevarer dette maleri, i et af dem? Skriv én grund på, hvorfor folk langt væk måske ville se på det.
Sammen udgør disse værker 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 13 værker af denne kunstner, hvoraf 1 er blevet set mindst én gang. Dette maleri er endnu ikke blevet vist i denne periode — det afslutter listen uden en rangering. Det samme gælder måned for måned
Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.
Kunstner og museum
Flora Macdonald Reid was an artist who possessed a rare gift for finding the extraordinary within the ordinary. Born in London in 1860 to Scottish parents, her early years were shaped by a rich cultural tapestry that spanned from the bustling streets of Islington to the academic rigor of Edinburgh. As a child, she moved with her family to Scotland, where her artistic sensibilities were first nurtured at the Trustees Academy School of Art. This formative period was deeply influenced by her brother, the esteemed painter John Robertson Reid, who served as both a sibling and a mentor. Under his guidance, Flora developed a keen eye for the subtle interplay of light and shadow, a skill that would become the hallmark of her mature work. Her upbringing was one of shared creative passion, as her sisters Elizabeth and Janet were also accomplished artists, creating a familial atmosphere where art was not merely a pursuit but a way of life.
The trajectory of Reid’s career was marked by a remarkable sense of movement and international curiosity. In 1881, she returned to London with her siblings, settling in the vibrant area of Haverstock Hill. This period saw her emergence on the prestigious stages of the British art world; by the age of sixteen, she was already exhibiting at the Royal Scottish Academy, and as she matured, her work graced the walls of the Royal Academy in London and the Royal Glasgow Institute of the Fine Arts. Her ambitions, however, were never confined to the British Isles. Reid’s travels took her through Norway, France, and Belgium, allowing her to absorb the diverse atmospheres of Europe. This cosmopolitan journey culminated in significant international recognition, most notably at the 1900 Exposition Universelle in Paris, where she was awarded a bronze medal for her painting Faith (later known as A Bruges Market Place), and her participation in the groundbreaking Woman's Building at the 1893 World's Columbian Exposition in Chicago.
While her training was rooted in classical observation, Reid’s true artistic soul found its most profound expression in the landscapes and lives of Cornwall. Between 1891 and 1907, she lived in the coastal villages of Looe and Polperro, a decade that would fundamentally transform her palette and subject matter. It was here that her work transitioned into a beautiful synthesis of realism and Impressionism. She became a chronicler of the Cornish way of life, capturing the rhythmic toil of fishermen hauling nets and the vibrant, sun-drenched energy of local marketplaces. Her canvases are celebrated for their ability to convey the fleeting effects of light—the way a golden afternoon glow settles upon a thatched cottage or how dappled sunlight dances across a crowded market stall.
Reid’s technique was characterized by a meticulous attention to detail that never sacrificed the emotional weight of the scene. While she primarily worked in oils, her occasional forays into etching and pastel demonstrated a versatile mastery over different textures and mediums. Her subjects were rarely grand or heroic; instead, she found dignity in the everyday. Whether depicting The Flemish Lacemaker or scenes of women engaged in domestic tasks, she imbued her figures with a quiet, soulful presence. This focus on the working classes and the beauty of mundane existence allowed her to create works that resonate with a timeless, human quality. Her ability to blend the precise observation of a realist with the atmospheric sensitivity of an Impressionist ensured that her paintings were not merely records of a place, but emotional evocations of a moment in time.
The historical significance of Flora Macdonald Reid lies in her role as a prominent female voice during a transformative era for British art. In an age where women artists often struggled for recognition, Reid achieved sustained success on the international stage, proving herself a formidable talent capable of competing in the most prestigious salons of Europe. Her work serves as a vital visual record of late 19th and early 20th-century life, preserving the textures of Cornish maritime culture and the bustling energy of European marketplaces with an intimacy that few others could achieve.
Today, her contributions are honored in several esteemed collections, ensuring that her luminous vision continues to inspire. Her legacy is defined by:
Technical Versatility: Her ability to navigate between the precision of realism and the atmospheric light of Impressionism.
Cultural Documentation: Her evocative portrayals of Cornish village life and the daily rhythms of working people.
International Achievement: Her decorated career, including accolades from the Paris Exposition Universelle and exhibitions in Chicago and London.
Artistic Lineage: Her place within a significant family of Scottish artists that helped shape the landscape of British painting.
originaluniqueart.com/da/art/download/flora-macdonald-reid-a-doubtful-customer-AQUCZY-en/
Se nærmere efter
A Doubtful Customer — Flora Macdonald Reid
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Ophavsretsstatus for "A Doubtful Customer" af Flora Macdonald Reid: værket er i det offentlige domæne – ophavsretten er udløbet. Dette afgør, om der frit må foretages reproduktioner af billedet.
Kunstneren bag "A Doubtful Customer" er Flora Macdonald Reid. Værket er katalogiseret under Flora Macdonald Reids navn.
Espresso (#423a26) er den dominerende farve i "A Doubtful Customer" af Flora Macdonald Reid.