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Sunset Glow on Cader Idris

Imię i nazwisko Klasa Data

Christopher Williams, Sunset Glow on Cader Idris (1920), Aberystwyth University School of Art Museum And Galleries. Domena publiczna. Zobacz to płótno w zmieniającym się świetle: rysunek, prawdziwy kolor pod werniksem, czysty pigment

Fakty

Artysta
Christopher Williams originaluniqueart.com/pl/artists/christopher-williams_pl/
Daty życia artysty
1873 – 1934
Technika malarska
1920
Technika wykonania
Oil On Canvas
Wymiary oryginału
114 x 142 cm
Ruch
Impressionism Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio.
Epoka
Modern
Miejsce wystawy
Aberystwyth University School of Art Museum And Galleries originaluniqueart.com/pl/museums/aberystwyth-university-school-of-art-museum-and-galleries-aberystwyth/
Artistic style
Impressionism
Notable elements or techniques
Impressionistic loose brushstrokes
Subject or theme
Welsh mountains and serene lake

W kontekście

Sunset Glow on Cader Idris — Christopher Williams

Jakie są wymiary?

Oryginalne wymiary to 114 × 142 cm (wysokość × szerokość), przedstawione tutaj obok osoby dorosłej o przeciętnym wzroście.

Kiedy powstało to dzieło?

  1. 1870
  2. 1880
  3. 1890
  4. 1900
  5. 1910
  6. 1920
  7. 1930

Wiersz powyżej: lata. Wiersz poniżej: wiek artysty na początku i na końcu każdego okresu — 0 w chwili narodzin, 61 w chwili śmierci.

Namalowane, gdy artysta miał 47 lat. Artysta dożył 61 lat. 50 z 65 datowanych dzieł tego artysty w naszym katalogu powstało wcześniej.

Shaded: lata życia Christopher Williams (1873–1934) ▲ to dzieło, 1920 każdy datowany obraz, dekada po dekadzie

Pierwsze prace: do 1911 Główne lata aktywności zawodowej: 1911–1919 Późne dzieła: od 1919

Te trzy sekcje dzielą datowane w tym katalogu dzieła na pierwszy kwartał, środkową połowę oraz ostatni kwartał. Nie stanowią one pełnego dorobku artysty: rzadsze okresy mogą wynikać z luk w dokumentacji, a nie z mniejszej aktywności twórczej. Lata zbieżne z życiem artysty

Porównaj z

Wybierz jedno z powyższych dzieł: wymień dwie cechy wspólne z tym utworem oraz jedną różnicę.

Więcej dzieł o podobnym charakterze: originaluniqueart.com/pl/art/similar/christopher-williams-sunset-glow-on-cader-idris-AQS7RR-en/

Paleta kolorów

Wyodrębniona z analizy obrazu

    Kolor główny

    Gray #807169

    Paleta w katalogu

    • #807169
    • #1E1917
    • #4C3733
    • #C7B297

    Te kolory w całej palecie artysty Znajdź inne obrazy według koloru

    Paleta kolorów
    Earthy Dominująca gama kolorystyczna obrazu.
    Nazwa koloru głównego
    Gray
    Nasycenie
    Monochromatic Stopień nasycenia i różnorodność kolorów – od pojedynczego stonowanego odcienia po bogactwo jaskrawych barw.
    Kontrast
    Statement W jakim stopniu kolory różnią się jasnością i nasyceniem na całym obrazie.
    Harmonia
    Softly Mixed Palette Jak dobrze kolory ze sobą współgrają – od kontrastowych po w pełni jednolite.
    Jasność
    Shadow Ogólna jasność lub ciemność obrazu, od głębokich cieni po świetliste refleksy.
    Nasycenie
    Muted Jak czyste i intensywne są te kolory, od niemal szarych po w pełni żywe.

    Gdzie na świecie można zobaczyć ten obraz?

    • poniżej 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% i więcej
    Samo to dzieło ma zbyt mało odnotowanych odwiedzających, aby móc je nanieść na mapę, dlatego zestawienie obejmuje wszystkie prace autorstwa Christopher Williams z ostatnich dwunastu miesięcy — łącznie 7 krajów. Źródło tych danych

    Dziesięć wiodących krajów

    1. 1 Chiny 83,3%
    2. 2 Singapur 8,3%
    3. 3 Belgia 1,7%
    4. 4 Wielka Brytania 1,7%
    5. 5 Hongkong 1,7%
    6. 6 Rosja 1,7%
    7. 7 Stany Zjednoczone Ameryki 1,7%

    Znajdź na mapie trzy najciemniejsze kraje. Czy muzeum, w którym znajduje się ten obraz, leży w którymś z nich? Zapisz jeden powód, dla którego osoby z daleka mogą chcieć go zobaczyć.

    20 najczęściej oglądanych dzieł artysty Christopher Williams

    1. 1 The Remorse of Judas, 1911 11,4%
    2. 2 Paolo and Francesca, 1902 5,7%
    3. 3 Sir Henry Jones (1852–1922), MA, LLD, Professor of Philosophy (1884–1891), 1920 4,3%
    4. 4 Cader Idris and Bird Rock, 1913 4,3%
    5. 5 Claude Goldsmid Montefiore (1858–1938), DD, DLiH, Treasurer of the Froebel Educational Institute (1892–1920), Chairman (1917–1937), and Benefactor, who Purchased the Grove House Estate for the Incorporated Froebel Educational Institute in 1921, thus ...., 1925 2,9%
    6. 6 Ceridwen 2,9%
    7. 7 Borth y Gest, Evening, 1913 2,9%
    8. 8 Tangiers, 1914 2,9%
    9. 9 Tyrau Mawr, 1913 2,9%
    10. 10 Farm Buildings (Kenfig) Bathed in Sunlight beneath Luminous Clouds 2,9%
    11. 11 Evening Glow, Venice 2,9%
    12. 12 A Fresh Morning, Llangranog 2,9%
    13. 13 Reverend Thomas Shankland (1858–1927), Welsh Librarian, University College of North Wales (1904–1913), Librarian of the Arts Library (1913–1926), 1923 1,4%
    14. 14 Thomas Francis Roberts (1860–1919), Principal (1891–1919), 1919 1,4%
    15. 15 Reflections, Venice, 1921 1,4%
    16. 16 Sunset Glow on Cader Idris, 1920 ten obraz 1,4%
    17. 17 Roland Williams (Hwfa Môn) (1823–1905), 1905 1,4%
    18. 18 Dame Margaret Lloyd George (1866–1941), 1921 1,4%
    19. 19 Sir Henry Rudolf Reichel (1856–1931), Pierwszy Dyrektor, 1926 1,4%
    20. 20 Rachel, 2020 1,4%

    Razem dzieła te stanowią 60,1% całej uwagi, jaką obrazy tego artysty przyciągnęły w ciągu ostatnich dwunastu miesięcy. Katalog zawiera 109 dzieł tego artysty, z których 48 zostało obejrzanych co najmniej raz. Ten obraz zajmuje 16 miejsce w zestawieniu, przyciągając 1,4% tej uwagi. To samo, miesiąc po miesiącu

    Paski mierzą poziom uwagi, a nie jakość. Wybierz dzieło z górnej części listy oraz to poniżej: wymień jedną rzecz, która może przynieść obrazowi sławę niezależnie od kunsztu jego wykonania.

    Artysta i muzeum

    Artysta

    Christopher Williams

    Urodzony w Maesygwrath, Walia

    Christopher Williams: A Welsh Visionary of the Celtic Revival

    Christopher David Williams (1873-1934) stands as a pivotal figure in Welsh art, a painter whose evocative works captured not only the beauty of his homeland but also its rich cultural heritage and the spirit of the burgeoning Celtic Revival. Born in Maesygwrath, a small village nestled in the heart of Glamorgan, Williams’s artistic journey was far from predetermined; initially destined for a career in medicine by his father, Evan Williams, a transformative encounter with the Walker Art Gallery in Liverpool ignited within him an unshakeable passion for painting – a path he resolutely pursued.

    Early Training and Artistic Foundations

    Williams’s formal artistic education began at the Neath Technical Institute in 1892-1893, providing him with a foundational understanding of technique. However, his ambition quickly propelled him towards more prestigious institutions. He subsequently enrolled at the Royal College of Art in London for three years, followed by further refinement at the Royal Academy Schools from 1896 to 1901. These formative years exposed him to the rigorous standards and diverse influences prevalent within the British art establishment. Crucially, his time at the Royal Academy was profoundly shaped by the work of Frederick Leighton, whose meticulously detailed historical paintings instilled in Williams a deep appreciation for academic technique and a commitment to capturing beauty with precision and grace. Leighton’s Perseus and Andromeda, witnessed during a visit to Liverpool, served as a catalyst, revealing an entirely new world of artistic possibility.

    Key Influences and Artistic Style

    Beyond Leighton, Williams drew inspiration from the Pre-Raphaelite movement, with its emphasis on romanticism, symbolism, and vibrant color. He also embraced the broader currents of the Celtic Revival, a cultural and artistic movement that sought to revive interest in Welsh mythology, folklore, and language. This influence is particularly evident in his landscapes, which often depict dramatic mountain ranges, ancient forests, and evocative coastal scenes – imbued with a sense of timelessness and spiritual resonance. His portraits, too, reflect this sensibility, capturing not just the likenesses of his subjects but also their inner lives and personalities. Williams’s palette was rich and luminous, employing bold contrasts and subtle gradations to create depth and atmosphere. He skillfully blended realism with expressive brushwork, resulting in paintings that are both technically accomplished and emotionally engaging.

    Major Achievements and Royal Recognition

    Williams's artistic career gained significant momentum through his inclusion in the prestigious Royal Academy exhibitions, beginning in 1902. His Paolo and Francesca, a poignant depiction of tragic love, garnered considerable attention, followed by a portrait of his father in 1903. He continued to exhibit at the Royal Academy for eighteen years, showcasing a diverse range of subjects – portraits of prominent figures, historical scenes, and evocative landscapes. A particularly momentous occasion arrived in 1911 when King George V commissioned Williams to create a commemorative painting of the investiture of Edward, Prince of Wales at Caernarfon Castle. This monumental work, reflecting both royal grandeur and Welsh identity, cemented his reputation as one of the leading artists of his time. Furthermore, he was elected into the Royal Society of British Artists in 1910, solidifying his position within the established art world.

    Themes, Legacy, and Enduring Significance

    Williams’s artistic output spanned a wide range of subjects, but several recurring themes emerge. He frequently depicted Welsh landscapes – capturing their rugged beauty and spiritual significance. He also explored themes from Welsh mythology and folklore, notably in works such as Ceridwen, a powerful depiction of the Welsh goddess of inspiration, and Branwen, a haunting portrayal of the tragic heroine of the Mabinogion. His portraits are distinguished by their psychological depth and ability to convey the character and personality of his subjects. Christopher Williams’s legacy extends beyond his individual works; he played a vital role in promoting Welsh art and culture during his lifetime, serving as an adjudicator at the National Eisteddfod and contributing to the National Museum of Wales and the Honourable Society of Cymmrodorion. His paintings remain treasured examples of Welsh artistic heritage, offering a window into the beauty, history, and spirit of his nation.

    Muzeum

    Aberystwyth University School of Art Museum And Galleries

    Prezentowane w Aberystwyth, United Kingdom

    A Beacon of Welsh Artistic Heritage: Aberystwyth University School of Art Museum & Galleries

    Nestled in the picturesque coastal town of Aberystwyth, Wales, Aberystwyth University School of Art Museum & Galleries stands as a testament to enduring artistic passion and scholarly dedication. Founded in 1872 alongside the university itself, its mission has always been to champion visual culture—from groundbreaking masterpieces to meticulously crafted studio ceramics—and to foster an appreciation for art’s transformative power. More than just a repository of artworks, it's a living laboratory where creativity intersects with research, ensuring that artistic legacies continue to inspire generations to come.

    A Legacy Built on Academic Roots:

    The museum’s origins are inextricably linked to Aberystwyth University’s establishment as a centre for higher learning and artistic exploration. This symbiotic relationship has nurtured an environment of continuous inquiry, resulting in exhibitions that delve into the intellectual context surrounding each piece and fostering dialogues between artists and scholars alike.

    Celebrating Welsh Identity Through Art:

    The museum's distinctive character derives significantly from its unwavering focus on Welsh art—a vibrant tradition reflecting the region’s folklore, landscape, and spiritual heritage. Artists like Clive Hicks-Jenkins, whose evocative paintings capture the essence of Welsh landscapes and narratives, exemplify this commitment to portraying Wales’ cultural identity.

    A Collection That Speaks Volumes

    The museum's holdings boast an impressive array of artistic expressions spanning centuries. Visitors can immerse themselves in fine and decorative arts—ranging from opulent sculptures to delicately crafted ceramics—each telling a story about its time and place. Particular acclaim is deserved for the Studio Ceramics Collection (1920-1940), which represents a pivotal moment in British ceramic history, showcasing innovative techniques and artistic visions born out of wartime austerity. These pieces offer invaluable insight into the creative spirit of an era defined by both hardship and remarkable ingenuity.

    Architectural Grandeur: The Old College

    Dominating Aberystwyth’s skyline is the Old College, a Grade I listed building that houses a significant portion of the museum's collections. Designed in Neo-Georgian style, its soaring arches and intricate stonework embody Victorian grandeur—a deliberate reflection of the university’s ambition to establish itself as a beacon of learning and artistic excellence. Exploring this architectural masterpiece alongside the artworks within provides an unforgettable experience, allowing visitors to contemplate the interplay between form and function throughout history.

    Notable Exhibitions & Ongoing Research

    Throughout its history, Aberystwyth University School of Art Museum & Galleries has hosted exhibitions that have captivated audiences worldwide. These events illuminate diverse artistic movements—from Impressionism to Surrealism—and stimulate critical discussion about art’s role in shaping cultural understanding. Furthermore, the museum actively engages in ongoing research projects aimed at furthering knowledge about Welsh art history and preserving its treasures for future generations. Collaborations with leading academics ensure that interpretations of artworks remain informed by scholarly rigor.

    Exploring Beyond the Walls: Online Access & Expanding Horizons

    Recognizing the importance of accessibility, Aberystwyth University School of Art Museum & Galleries offers visitors a captivating glimpse into its collection through an engaging online database. This digital resource allows enthusiasts from across the globe to explore artworks, delve deeper into their histories, and connect with curators—expanding the museum’s reach beyond its physical location and fostering a global community of art lovers.

    Featured Artists:

    Don't miss Clive Hicks-Jenkins! His paintings are a stunning portrayal of Welsh folklore and landscapes.

    Visit Aberystwyth University School of Art Museum & Galleries to discover the beauty and intellectual richness of Welsh artistic heritage.

    Explore More

    Gdzie przeczytać więcej

    Znajdź w sieci

    Kod QR prowadzący do strony pobierania Sunset Glow on Cader Idris

    originaluniqueart.com/pl/art/download/christopher-williams-sunset-glow-on-cader-idris-AQS7RR-en/

    Jak cytować to dzieło

    MLA
    Williams, Christopher. Sunset Glow on Cader Idris. 1920, Aberystwyth University School of Art Museum And Galleries. https://originaluniqueart.com/pl/art/christopher-williams-sunset-glow-on-cader-idris-AQS7RR-en/
    APA
    Williams, Christopher (1920). Sunset Glow on Cader Idris [Painting]. Aberystwyth University School of Art Museum And Galleries. https://originaluniqueart.com/pl/art/christopher-williams-sunset-glow-on-cader-idris-AQS7RR-en/
    Chicago
    Christopher Williams. Sunset Glow on Cader Idris. 1920. Aberystwyth University School of Art Museum And Galleries. https://originaluniqueart.com/pl/art/christopher-williams-sunset-glow-on-cader-idris-AQS7RR-en/
    Harvard
    Williams, Christopher (1920) Sunset Glow on Cader Idris. Aberystwyth University School of Art Museum And Galleries. Available at: https://originaluniqueart.com/pl/art/christopher-williams-sunset-glow-on-cader-idris-AQS7RR-en/

    Przyjrzyj się uważnie

    Sunset Glow on Cader Idris — Christopher Williams

    Przyjrzyj się uważniej

    Odpowiedz własnymi słowami. Nie ma tutaj błędnych odpowiedzi — liczą się tylko te, które potrafisz uzasadnić.

    1. Co przyciąga Twoją uwagę w pierwszej kolejności i dlaczego?
    2. Które kolory lub kształty budują nastrój — i jaki to nastrój?
    3. W naszym katalogu dzieło to znajduje się w kategorii: mountain landscape, lake reflection, sunset colors. Czy zgadzasz się z tym opisem? Co warto by dodać lub usunąć?
    4. Wróć do dzieła Sir Henry Rudolf Reichel (1856–1931), Pierwszy Dyrektor (1926), wspomnianego wcześniej w tym przewodniku. Wymień dwie cechy wspólne z tym obrazem oraz jedną różnicę.
    5. Impressionism: Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio. Gdzie można to dostrzec w tym dziele?

    Twoja odpowiedź

    Napisz krótki akapit na temat tego dzieła. Wykorzystaj fakty zawarte w poprzednich częściach tego przewodnika oraz swoje wcześniejsze odpowiedzi.

    Pytania i odpowiedzi

    Gdzie i w jakim celu zaleca się użycie "Sunset Glow on Cader Idris"?

    Dzieło „Sunset Glow on Cader Idris” – Christopher Williams jest polecane do Mood, najlepiej w Living Room. Zastosowanie oraz przestrzeń pomagają zdecydować, gdzie najlepiej umieścić reprodukcję.

    Jakie miejsce w historii sztuki zajmuje „Sunset Glow on Cader Idris” – Christopher Williams?

    Dzieło „Sunset Glow on Cader Idris” – Christopher Williams klasyfikuje się jako Impressionism, pochodzące z okresu Modern.

    Jakie emocje budzi „Sunset Glow on Cader Idris” – Christopher Williams?

    W "Sunset Glow on Cader Idris" nastrojowi Serene towarzyszy emocja Tranquil.