Guide til elevkunst
Ophavsret Dette værk er i det offentlige domæne. William Mulready the Younger døde i 1863; ophavsretten varer 70 år efter kunstnerens død, så den udløb i 1933.
I kontekst
Teal — William Mulready the Younger
Originalen måler 35 × 45 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, 77 ved død.
Malet da kunstneren var 49 år gammel. Kunstneren blev 77 år gammel. 29 af de 48 daterede værker af denne kunstner i vores katalog er skabt tidligere.
Skyggelagt: William Mulready the Younger' livstid (1786–1863) ▲ dette værk, 1835 hvert dateret maleri, årti for årti
Første værker: frem til 1814 Primære arbejdsår: 1814–1838 Senere værker: fra 1838
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 med kunstnerens liv lagt ind i dem
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/william-mulready-the-younger-teal-AQRRYY-en/
Målt ud fra billedet
Hovedfarve
Clay #876b38
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 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 60 værker af denne kunstner, hvoraf 20 er blevet set mindst én gang. Dette maleri rangerer som nummer 14 af dem, med 4,0% 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
Født i Ennis, Irland
Born in the quiet Irish town of Ennis, County Clare, in 1786, William Mulready the Younger embarked on a journey that would establish him as a pivotal figure in Victorian genre painting. His early life foreshadowed his artistic inclinations; a family relocation to London in 1792 provided access to a burgeoning art world and opportunities for formal training. Even as a young boy, Mulready demonstrated an exceptional talent for copying engravings, revealing a keen eye for detail and a natural aptitude for visual representation. This innate ability led him to the tutelage of John Graham, a historical painter who recognized his potential, followed by studies at the Royal Academy School around the age of fourteen – a significant achievement for someone from such humble beginnings. These formative years were characterized not only by academic instruction but also by self-directed learning; Mulready diligently copied prints and keenly observed actors in theatrical performances, honing his skills through dedicated practice and immersive observation of the world around him. He was particularly drawn to the works of Dutch masters, absorbing their techniques for capturing realistic detail, nuanced characterizations, and intimate domestic settings – a foundation that would profoundly shape his artistic style.
Mulready’s artistic path wasn't immediately defined. He initially focused on landscapes, demonstrating an early mastery of depicting natural settings with a delicate touch and a keen understanding of light and shadow. However, around 1808, he began his transition into genre painting – scenes from everyday life – a shift that would ultimately define his career and secure his place in art history. This move was significantly influenced by the Dutch masters of the 17th century, whose works he meticulously studied in private collections. He absorbed their techniques for capturing realistic detail, nuanced characterizations, and intimate domestic settings. His paintings became imbued with a romantic sensibility, often carrying subtle moral undertones that resonated deeply with Victorian audiences. Recurring themes emerged in his work: children engaged in various activities – playing games, helping around the house, or simply enjoying each other’s company – explorations of behavior and education, reflecting the societal concerns prevalent during the era. Mulready wasn't merely documenting reality; he was interpreting it through a lens of sentiment and moral consideration, creating scenes that were both charming and thought-provoking. Mulready’s technical skill was remarkable, particularly evident in his detailed drawings of the nude figure – a testament to his dedication to mastering fundamental artistic principles.
Mulready’s talent didn't go unnoticed by the artistic establishment. He rapidly ascended within the ranks of the Royal Academy, becoming an Associate (A.R.A.) in 1815 and a full member (R.A.) just a year later – a remarkable feat demonstrating his exceptional skill and promise. His international recognition extended beyond Britain; in 1816, he was awarded the French Légion d'honneur, further solidifying his reputation as a leading artist of his time. Among his most celebrated works are “Returning from the Ale House” (also known as “Fair Time”), housed in the Tate Gallery, and “Giving a Bite,” which graces the Victoria and Albert Museum. “First Love”, also at the V&A, exemplifies his ability to capture tender emotion and delicate narrative. He was also a prolific illustrator, lending his talents to several children's books, including early editions of Charles and Mary Lamb’s "Tales from Shakespeare" and William Roscoe's "The Butterfly's Ball," bringing literary worlds to life through his visual interpretations. Mulready’s work often depicted scenes of rural life with a gentle realism that appealed to the Victorian public’s desire for nostalgia and connection to nature.
Elizabeth Varley: Mulready’s wife, also a landscape painter who shared his artistic sensibilities.
Paul Augustus Mulready: One of his sons, who followed in his father’s artistic footsteps, becoming a portrait painter himself.
William Mulready Junior: Another son, known for his skills as a picture restorer and portrait painter.
Michael Mulready: The third son to pursue an art career, demonstrating the family's commitment to artistic expression.
Augustus Edwin Mulready: His grandson, a prominent member of the Cranbrook Colony of artists – a group known for their innovative approach to landscape painting.
William Mulready died in 1863, leaving behind a rich artistic legacy that continues to resonate today. His paintings were immensely popular during the Victorian era, reflecting and shaping contemporary tastes and values. He played a crucial role in establishing genre painting as a respected art form within Britain, elevating scenes of everyday life to the level of serious artistic consideration. Mulready’s influence extended beyond his own work; he came from a family deeply rooted in artistry – his wife Elizabeth Varley and their sons all pursued careers as artists. His grandson, Augustus Edwin Mulready, became a prominent member of the Cranbrook Colony of artists, continuing the family tradition. While the Mulready stationery may have been short-lived, its association with the Penny Black ensures its place in history. More importantly, his paintings offer a captivating glimpse into Victorian life, capturing the essence of an era with remarkable detail and sensitivity. His dedication to technical mastery, combined with his ability to imbue ordinary scenes with emotional depth, secures William Mulready’s position as a significant and enduring figure in British art.
originaluniqueart.com/da/art/download/william-mulready-the-younger-teal-AQRRYY-en/
Se nærmere efter
Teal — William Mulready the Younger
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Siden Statistikker for "Teal" af William Mulready the Younger præsenterer statistikker over offentlige besøg: månedlige besøg af dette kunstværk, en sammenligning med kunstnerens mest sete værker og hvor de besøgende kommer fra.
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