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ŠtatistikyThe Bus Queue
1949
39.0 x 31.0 cm
Prečítať si viac
Umelecké dielo zobrazené na tejto stránke je chránené autorským zákonom, čo znamená, že nemôžeme legálne vytvárať ani predávať jeho identickú reprodukciu. Táto ochrana je vymáhaná na základe medzinárodných dohôd, ako napríklad Bernská konvencia a národnými zákonmi, vrátane tých, ktoré sú stanovené v Autorské právo USA – Title 17. Všetky práva vyhradené.
Táto metóda plne dodržiava autorské práva, pretože nezahŕňa kopírovanie ani duplikovanie chráneného diela. Ide skôr o kreatívnu reinterpretáciu – nový obraz, ktorý je ovplybnený originálom, no nie je s ním identický.
Giclée / Umenotlač
Giclée tlač alebo plátno múzeálnej kvality s rýchlou výrobou a rôznymi možnosťami povrchovej úpravy. (
Objednať ručne maľovanú reprodukciu Prepnúť na digitálnu verziu obrazu)
Vyberte si z našich preddefinovaných rozmerov, ktoré zodpovedajú pôvodným pomeroḿ diela.
Zadajte šírku a výšku, ktoré potrebujete, aby sa reprodukcia hodila k vášmu rámu alebo stene. Print možno len orezávať, nikdy však nemennú veľkosť zvětšiť oproti pôvodnému obrázku, preto pri inom formáte stráca časť obrazu. Pred samotným vytlačiacím procesom vám pošleme digitálny náhľad na schválenie. Obrázok zobrazený na tejto stránke nezobrazuje reálny rez — len digitálny náhľad ukazuje presný výsledok.
Celosvetová doprava () do 2 týždňov namiesto štandardných 4 až 5 týždňov. (24 október)
Bezplatná expresná doprava po celom svete
Vysokokvalitné lnianske plátno
Úplné poistenie prepravy
Záruka vrátenia colného poplatku
Záruka presného farebného zhodnutia
100-dená politika vrátenia tovaru (iba pri vadách)
100% záruka vrátenia peňazí
Ponuka množstevnej zľavy
Možnosť skla je dostupná len pri rozmeroch pod 110 cm
The Bus Queue
Giclée / Umenotlač
Veľkosť reprodukcie
-
Celková cena
€ 70
A Glimpse into Everyday Life
The scene is set on a city street, with cars parked along the sidewalk and individuals carrying handbags. The umbrellas come in various sizes and colors, adding visual interest to the image. The overall atmosphere of the painting suggests that it was created during the rainy season or in an area prone to rain. Gladys Maccabe's use of oil on panel creates a sense of depth and texture, drawing the viewer into the scene. Key Features:- The painting's small size belies its impact, with intricate details that reward close inspection.
- The use of color is muted, with earthy tones dominating the palette.
- The composition is balanced, with the figures arranged in a harmonious pattern.
The Ulster Museum is also home to other notable works, including pieces by Sir John Lavery, such as On the Loing: An Afternoon Chat (also known as Under the Cherry Tree). You can explore these artworks and more on /art/list/?Filter=8YDKN2-Sir-John-Lavery-On-the-Loing:-An-Afternoon-Chat-(also-known-as-Under-the-Ch...
Otázky a odpovede
Môžem si pozrieť "The Bus Queue" ako prejav v režime celého obrazovky?
Dielo „The Bus Queue“ od Gladys Maccabe si môžete pozrieť ako diaporama na stránke Diaporama daného diela.
Kde kúpiť ručne maľované kópie diela „The Bus Queue“ od Gladys Maccabe?
Ručne maľovanú reprodukciu diela „The Bus Queue“ od Gladys Maccabe si môžete objednať priamo na jeho stránke Ručne maľovaná reprodukcia: ručne maľovaná olejná reprodukcia na plátne z ľanu, vyrábanú na mieru.
Aká je luminancia diela „The Bus Queue“ od Gladys Maccabe?
Farby diela „The Bus Queue“ vykazujú Dark luminanciu.
Biografia umelca
A Life Shaped by Color and Line
In the quiet town of Randalstown, County Antrim, a young girl named Gladys Moore Maccabe began to see the world through a lens of fine detail and design. She was born into a household where art was woven into the very fabric of daily life; her mother, Elizabeth, worked as a designer in the linen industry, while her father, George Chalmers, brought the disciplined beauty of calligraphy and illumination to their home. This early immersion in craftsmanship meant that by the age of thirteen, her talent was already finding its way into national publications. The precision required for such work stayed with her as she moved to Belfast to study sculpture and commercial art at the Belfast School of Art.
Her path was deeply intertwined with that of Max Maccabe, a fellow artist and musician whom she married in 1941. Together, they shared more than a home; they shared a creative pulse, exhibiting their works side by side in galleries from Belfast to London. They were part of a circle of painters known as The Contemporary Ulster Group, finding companionship in the shared experimentation of their era. Even as she navigated the complexities of her personal life, such as the loss of her father which led her to remain in Ulster rather than pursuing studies in London, her commitment to the local art scene never waed.
The Pulse of Everyday Life
Gladys possessed a particular eye for the movement of crowds and the quiet energy of communal spaces. Her canvases often focused on the simple, shared moments of Northern Irish life: the bustle of a market, the excitement of a race meeting, or the calm of a beach. She had a way of capturing people in their natural elements, whether they were waiting for a bus on a rainy day or gathered at a local fair. This interest in the human element extended to her still lifes and floral studies, where she applied the same careful observation she used for larger social scenes.
As the years progressed, the atmosphere around her changed. During the height of The Troubles in 1969, the peace of her earlier subjects was interrupted by the harsh realities of conflict. She turned her brush toward the streets of Belfast, documenting the presence of barricades and the heavy shadows cast by civil unrest. Works such as Barricades and Petrol Bomb Sequel reflected a landscape transformed by tension, showing that her art could hold both the charm of a summer market and the gravity of a changing society.
A Legacy of Advocacy and Recognition
Beyond her own brushwork, Gladys was a driving force for others. In 1957, moved by the lack of opportunities for her female peers, she founded the Ulster Society of Women Artists. She served as its first President, beginning with just ten members, to ensure that the talent of women in Northern Ireland would no longer go unnoticed. Her work as a journalist and arts correspondent further allowed her to shape the cultural conversation, bringing news of fashion and fine art to newspapers and television audiences alike.
Her many honors reflected a lifetime of dedication to the arts. She was appointed an MBE for her services to the community and held fellowships in several prestigious societies. Her paintings found permanent homes in significant collections, including:
- The Ulster Museum
- The Royal Ulster Academy
- The Arts Council of Ireland Collection
- The Imperial War Museum
Through her dual roles as a creator and an advocate, she left behind a record of a century defined by both beauty and struggle.
Gladys Maccabe
1918 - 2018
Rýchle fakty
- Artistic Movement Or Style: Realism
- Artists Or Movements Influenced By This Artist: ['Ulster Society of Women Artists']
- Artists Who Influenced This Artist: ['Sir George Chalmers']
- Full Name: Gladys Moore Maccabe
- Nationality: Northern Irish
- Notable Artworks:
- William Conor
- In the Park
- The Bus Queue
- Flower Seller
- Barricades
- Blazing Warehouse
- Petrol Bomb Sequel
- Funeral of a Victim
- Place Of Birth: Randalstown, Northern Ireland
- Date Of Birth: 1918
- Date Of Death: 2018