著作権 この作品はパブリックドメインです。Edwin Evansは1946に没し、著作権は没後70年まで保護されるため、2016に終了しました。
文脈において
The Calf — Edwin Evans
原寸は 28 × 34 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
上の行：年。下の行：各期間の開始時と終了時の年齢 — 出生時は0、没時は 86。
作家が 39 歳の時に制作。 そのアーティストは86まで生きました。 0 of the 1 dated works by this artist in our catalogue came earlier.
背景色：Edwin Evansの生涯 (1860–1946) ▲ 本作品、1899 年代ごとに並ぶ、すべての制作年入り作品
画像から抽出したカラーパレット
メインカラー
Espresso #5b5549
保存済みパレット
アーティストのパレット全体を構成するこれらの色彩 色から他の絵画を探す
アーティストと美術館
生誕地 Lehi, United States
The story of Edwin Evans begins in the settlement of Lehi, Utah, where he was born on February 2, 1860. He was the son of Bishop David Evans, a man who had founded the very town that would serve as the artist's birthplace. Though his early years were spent far from the formal studios of Europe, the impulse to create was present from his youth, even if he did not initially see himself as a professional painter. He spent much of his early adulthood working as a railway telegraph operator, finding moments to sketch during the quiet intervals of his labor.
His path shifted when his talent was noticed by others, leading him away from the telegraph office and toward the study of fine art. This transition eventually took him across the ocean to study in Paris, where he became part of a notable group of artists sent to refine their skills. Upon returning to the United States, his career expanded from the canvas to the classroom. He became a dedicated teacher, eventually serving as the President of the Institute of Fine Arts at the University of Utah. His influence on art education was profound, as he spent many years shaping the minds of students in both public schools and university settings.
Throughout his long life, Evans moved between the quiet landscapes of his home and the bustling centers of artistic study. He remained active in the art community, contributing murals to significant religious and civic buildings and participating in various exhibitions. He eventually moved to Los Angeles, California, where he passed away on March 3, 1946. His legacy remains tied to the development of the American West's visual identity and the establishment of formal art education in the region.
Born in the settlement of Lehi, Utah, Edwin Evans entered a world that bore his own family's name, as the town was originally known as Evansville. He was the son of Bishop David Evans, the man who founded the community. In those early years, Evans did not look toward the canvas with any particular intention. He spent his time as a railway telegraph operator, a role that required steady hands and a focused mind. Yet, even amidst the rhythmic clicking of the telegraph, he found himself sketching the fleeting moments of daily life as a quiet hobby.
A change in his destiny arrived through the observant eye of Alonzo Hyde. Noticing the talent hidden within the telegrapher's sketches, Hyde offered the encouragement and support necessary to transform a pastime into a vocation. This recognition pushed Evans toward the formal study of art. He moved to Salt Lake City to refine his skills, seeking instruction under the guidance of George M. Ottinger and Dan Weggeland. These early lessons provided the foundation for a life spent translating the light and landscape of the West onto cloth and paper.
By 1888, the path for Evans had shifted from the steady rhythm of the railway telegraph to the studios of Europe. Through the support of Alonzo Hyde, he found himself in Paris, a city that offered a different kind of discipline than the one he had known in Utah. He joined a small group of fellow artists, a circle that would eventually be known as the "French Art Missionaries." These men traveled to the heart of the art world not merely for personal glory, but to prepare for the monumental task of decorating the Salt Lake Temple. Their presence in France was a purposeful mission, a way to bring the refined techniques of the Old World back to the rugged landscapes of the American West.
At the Académie Julian, Evans immersed himself in the rigorous training required of a professional painter. He studied under Albert Rigolot, an instructor who helped shape his understanding of form and light. The atmosphere of the academy was intense, demanding a level of technical precision that transformed his early sketches into something far more substantial. During these years, the group often wandered into the French countryside, seeking the essence of the land to capture on canvas. This period of study was not merely about learning to paint; it was about absorbing a way of seeing that would define his later work in both murals and landscapes.
The brushwork of Edwin Evans carried the unmistakable influence of the Impressionist spirit he encountered during his time in France. He moved away from rigid, precise lines, preferring instead a style defined by loose, textured brushstrokes that gave his surfaces a sense of movement. This approach allowed him to master the play of light across a scene, capturing the way sunbeams might hit a field or how shadows shift in a quiet corner. He possessed a particular talent for rendering the atmosphere of a place, focusing on the way light interacts with the air and the earth.
His subject matter often turned toward the quiet rhythms of rural life. He found deep interest in the depiction of livestock and the steady, unhurried scenes of farm life that characterized the landscape. Whether he was painting the heavy form of a calf or the wide expanse of a field, his work sought to capture the essence of these subjects through a careful command of light and color. This focus on the natural world allowed him to translate the rugged beauty of the American West into something that felt alive and breathing.
While he was deeply skilled in the medium of oil, Evans showed a remarkable versatility in his later years. He turned his attention to the delicate nuances of watercolor, a medium that required a different kind of restraint and precision. This shift allowed him to explore lighter, more transparent layers of color, proving that his hand was as capable of subtle, watery washes as it was of thick, textured oils. Through these various methods, he remained dedicated to the study of light and the natural world throughout his long career.
展示場所： Provo, United States
Located on the north campus of Brigham Young University in Provo, Utah, United States, the Brigham Young University Museum of Art functions as an active institution. It develops specific themes and presentations centered around its permanent collection. The museum maintains a presence in the community through regular public programs and events. Admission remains free to the public.
The institution holds the largest university museum attendance in the country. This engagement reflects a commitment to presenting art through curated exhibitions that connect the holdings to broader narratives. The museum operates as a living entity, constantly evolving through its programming and its relationship to the surrounding university campus.
The museum occupies a modern four-story building situated on the north campus of Brigham Young University in Provo, Utah. Completed in 1993, the structure encompasses approximately 102,000 square feet of space. Its design facilitates a variety of viewing experiences across ten exhibition galleries, which host both the permanent collection and rotating traveling shows.
The central atrium serves as a focal point within the architecture, featuring a large Plexus installation by Gabriel Dawe. This presence provides a sense of scale and light to the interior. The layout allows for a steady movement through the various levels, connecting the different exhibition spaces through the open volume of the atrium.
The permanent collection encompasses a diverse range of American and international works. These holdings include significant pieces by Maynard Dixon, whose presence is felt through works such as No Place to Go and Hand of God. The museum also preserves the art of Minerva Teichert, including her work Miracle of the Gulls, and the contemporary expressions of Brian Kershisnik, such as his Nativity.
A substantial portion of the museum's holdings is dedicated to religious art. This collection contains various treasures acquired through the long-standing efforts of Carol and Roy Christensen. These works provide a specific focus within the broader scope of the institution's holdings.
The catalog includes several notable portraits and landscapes that reflect different eras of artistic practice:
Portrait of Miss Kitty Calcraft, about 1787 - George Romney
The first grief, 1892 - Daniel Ridgway Knight
Portrait of a Lady, 1800 - Gilbert Stuart
Sunset in the Catskills, 1862 - Alfred Thompson Bricher
Landscape, 1866 - Asher Brown Durand
The museum maintains a presence through a rotating series of exhibitions that bring significant historical and cultural artifacts to Provo. Past presentations have included the Etruscan Exhibition from the Vatican Museum in Rome and the Imperial Tombs of China. These displays allow for a direct encounter with ancient civilizations, alongside specialized exhibitions such as the Masada/Dead Sea Scrolls Exhibit and the Art of the Ancient Mediterranean World. Such programs provide a physical connection to distant eras and geographies.
The institution also focuses on specific movements and thematic explorations. The Paths to Impressionism and Escape to Reality exhibitions have offered focused looks at stylistic shifts and conceptual approaches. The museum has also hosted the Maynard Dixon show, bringing the specific visual language of that artist to the local community. Religious and spiritual themes are frequently addressed, as seen in the Beholding Salvation: Images of Christ exhibition.
Research and public engagement continue through specialized series. The From the Vault series, such as Envisioning the Early Latter Days, highlights specific segments of the permanent collection. These curated efforts ensure the museum remains a site of active study and observation.
The permanent collection has recently grown to include Paige Crosland Anderson's Again, Glorified (Atonement Triptych). This work consists of three large painted panels set within golden frames. The acquisition of this triptych was made possible through the support of MOA donors Joyce Martin Hill and George Hill. The intricate, overlapping patterns of circles and squares in rich jewel tones create a specific presence within the museum's holdings.
Current programming includes the From the Vault series, which focuses on specific historical themes. The upcoming installment, titled Envisioning the Early Latter Days, is scheduled to be on view from January 10 to November 1, 2025. This series draws highlights from the collection to present depictions of events from the history of the Church of Jesus Christ of Latter-day Saints.
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The Calf — Edwin Evans
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Edwin Evans作「The Calf」は、Softly Mixed Paletteな色彩の調和を見せています。
Edwin Evans作「The Calf」の色彩構成は、BoldなコントラストとSoftly Mixed Paletteな調和を併せ持っています。
Edwin Evans作「The Calf」には、Ochre to Sepiaの色調が全体に広がっています。