Guide til elevkunst
Ophavsret Dette værk er i det offentlige domæne. Frederick John Widgery døde i 1942; ophavsretten varer 70 år efter kunstnerens død, så den udløb i 2012.
I kontekst
In the Gorge, Lydford, Devon — Frederick John Widgery
Originalen måler 69 × 103 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, 81 ved død.
Skyggelagt: Frederick John Widgery' livstid (1861–1942) hvert dateret maleri, årti for årti
Der findes ikke et præcist årstal for denne indspilning i arkivet — baseret på kunstnerens levetid og værkets stil, hvilket årti ville du så gætte på?
Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.
Flere værker, der kan placeres ved siden af dette: originaluniqueart.com/da/art/similar/frederick-john-widgery-in-the-gorge-lydford-devon-AR2928-en/
Målt ud fra billedet
Hovedfarve
Driftwood #9a8457
Gemt 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 99,9% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 8 værker af denne kunstner, hvoraf 3 er blevet set mindst én gang. Dette maleri rangerer som nummer 2 af dem, med 33,3% af den opmærksomhed. 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
Frederick John Widgery, a name perhaps less familiar than some of his contemporaries, nevertheless holds a significant place in the history of 19th-century British landscape painting. Born in May 1861 in Exeter, England, Widgery’s artistic journey was deeply rooted in the rugged beauty of Devon and Cornwall – regions he would dedicate his life to capturing with remarkable sensitivity and skill. His story is one intertwined with familial legacy, a quiet dedication to observation, and a subtle yet powerful contribution to the evolving traditions of English landscape art.
Widgery’s artistic lineage began with his father, William Widgery, a self-taught artist who instilled in Frederick a profound appreciation for the natural world. This early influence proved pivotal; while Frederick pursued formal training – attending Exeter School of Art, the South Kensington Museum School, and briefly studying at the Académie Royale des Beaux-Arts d’Antwerpen under Charles Verlat – he never entirely abandoned the directness and observational acuity that characterized his father's work. This blend of academic grounding and personal vision is a hallmark of Widgery’s style.
His artistic development unfolded across several key periods. Initially, he spent time in London, honing his skills at the South Kensington School of Art. However, a yearning for the familiar landscapes of Devon ultimately drew him back to his home county. He established himself as an artist working primarily from his studio at 20a Queen Street, Exeter, a location that afforded him easy access to the very subjects he sought to portray. This proximity allowed for countless hours spent observing light and atmosphere on Dartmoor, the coastline, and the surrounding countryside – elements which would become central to his artistic practice.
Widgery’s paintings are immediately recognizable by their masterful handling of light and color. He wasn't interested in dramatic, theatrical effects; rather, he sought to capture the subtle nuances of daylight as it played across the moorland tors, reflected on the sea, or filtered through the coastal foliage. His palette was restrained – predominantly muted greens, browns, greys, and blues – yet within this limited range, he achieved a remarkable depth and luminosity. He employed a technique characterized by loose brushstrokes and a focus on atmospheric perspective, creating an illusion of distance and space that is both convincing and deeply evocative.
His subjects were predominantly landscapes: Dartmoor’s vast expanses, the dramatic cliffs of Cornwall, and the rolling hills of Devon. He frequently depicted scenes of rural life – shepherds tending their flocks, fishermen casting their nets, and cottages nestled amongst the fields. However, it was his ability to capture the feeling of a place—the sense of solitude, tranquility, and connection to nature—that truly set his work apart. He avoided overtly sentimental depictions, instead presenting a quietly observant view of the world around him.
While Widgery’s artistic journey was largely independent, it's clear that he drew inspiration from several sources. The influence of his father is undeniable, as evidenced by the directness of his observation and the emphasis on capturing the essence of the landscape. Furthermore, he studied under Hubert von Herkomer at Bushey School of Art, a renowned figure in the English art world known for his meticulous realism and attention to detail. This training provided him with valuable technical skills, which he skillfully integrated into his own distinctive style.
Beyond these formal influences, Widgery’s work reflects the broader artistic currents of the Victorian era – a period marked by a renewed interest in landscape painting and a growing appreciation for the beauty of the British countryside. Artists like Turner and Constable, who had championed the depiction of nature as a subject worthy of serious artistic attention, provided a precedent for Widgery's approach.
Frederick John Widgery’s life extended beyond his artistic pursuits. He was actively involved in local civic affairs, serving as Mayor of Exeter from 1903 to 1904. He also held positions on the Town Planning Committee and contributed significantly to the cultural development of the city. This commitment to community reflects a broader sense of responsibility and engagement with the world around him.
Despite not achieving widespread fame during his lifetime, Widgery’s work has been steadily recognized for its quiet beauty and understated elegance. His paintings are now held in public collections and private hands, offering a valuable glimpse into the artistic sensibilities of a lesser-known but nonetheless significant figure in British landscape art. His legacy lies not in grand pronouncements or revolutionary innovations, but rather in his patient observation, his skillful technique, and his ability to capture the enduring spirit of Devon and Cornwall.
Okehampton Castle, Devon (1908): A quintessential example of Widgery’s style, capturing the grandeur of the castle against a dramatic sky.
Sky Study, Wind WSW (c. 1925): Demonstrates his mastery of atmospheric perspective and subtle color variations.
William Widgery (father) portrait (1890s): A poignant depiction of his father, reflecting the influence of his artistic lineage.
Further research into Frederick John Widgery’s life and work can be found at resources such as the Exeter Civic Society website (https://extercivicsociety.org.uk/plaques/frederick-john-widgery/) and online art databases like askART (https://www.askart.com/artist/Frederick_John_Widgery/11137611/Frederick_John_Widgery.aspx).
originaluniqueart.com/da/art/download/frederick-john-widgery-in-the-gorge-lydford-devon-AR2928-en/
Se nærmere efter
In the Gorge, Lydford, Devon — Frederick John Widgery
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"In the Gorge, Lydford, Devon" hælder mod en Ochre to Sepia nuance.
"In the Gorge, Lydford, Devon" måler 69 x 103 cm i sin oprindelige form. De originale dimensioner er en nyttig reference, når du skal vælge størrelsen på en reproduktion.
Farveintensiteten i "In the Gorge, Lydford, Devon" er Balanced. Intensitet beskriver, hvor kraftige farverne fremstår.