The Day's Work, Hop Picking (Thérèse Lessore)
Thérèse Lessore (1884–1945) criou The Day's Work, Hop Picking. Mede 77 × 54 cm.
- 77 × 54 cm
The Day's Work, Hop Picking, em resumo
- Título
- The Day's Work, Hop Picking
- Artista
- Thérèse Lessore (1884–1945)
- Artista nascido em
- Southwick, United Kingdom
- Dimensões
- 77 × 54 cm
Imagens em alta resolução de The Day's Work, Hop Picking
Thérèse Lessore, The Day's Work, Hop Picking. Domínio público.
Perguntas sobre The Day's Work, Hop Picking respondidas
Quais são as dimensões da obra original "The Day's Work, Hop Picking"?
A obra original "The Day's Work, Hop Picking", de Thérèse Lessore mede 77 x 54 cm.
"The Day's Work, Hop Picking" está em domínio público?
"The Day's Work, Hop Picking", de Thérèse Lessore está em em domínio público — seus direitos autorais expiraram. Este status determina como a imagem da obra pode ser reproduzida.
A qual artista "The Day's Work, Hop Picking" é atribuída?
"The Day's Work, Hop Picking" foi criado por Thérèse Lessore. As informações nesta página descrevem a obra original de Thérèse Lessore.
"The Day's Work, Hop Picking", de Thérèse Lessore, está em domínio público? E por quê?
"The Day's Work, Hop Picking", de Thérèse Lessore está em em domínio público — seus direitos autorais expiraram. O período de direitos autorais conta a partir do falecimento do artista, ocorrido em 1945.
Sobre o artista, Thérèse Lessore
1884–1945, United Kingdom
Thérèse Lessore
Thérèse Lessore: A Quiet Observer of Bloomsbury Beauty Thérèse Lessore (1884 – 1945) was a British artist whose distinctive watercolor paintings and collaborative designs for Wedgwood pottery cemented her place as a significant figure in the artistic landscape of the early twentieth century. Born in Southwick, West Sussex, she inherited an artistic lineage stretching back to Jules Frédéric Lessore, her father—a French painter who had established himself in England—and his wife Ada Louise Cooper. Her family’s connections to Wedgwood and its celebrated designers further shaped her creative vision, fostering a fascination with decorative arts alongside her passion for capturing the subtleties of human experience. Her formative years were marked by exposure to artistic excellence; she attended the Slade School of Fine Art from 1904 to 1909, where she honed her skills and earned the prestigious Melville Nettleship Prize for figure composition.