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Henry Bathurst, 3rd Earl Bathurst

Ime in priimek Razred Datum

William Salter, Henry Bathurst, 3rd Earl Bathurst (1834). Dostopno v javni lastnini. Oglejte si to platno pod premikajočo svetlobo: risbe, pravo barvo pod lakom in golo pigmentacijo

Podrobnosti

Umetnik
William Salter originaluniqueart.com/sl/artists/william-salter/
Datumi rojstva in smrti umetnika
1804 – 1875
Naslikano
1834
Prvotna velikost
53 x 43 cm
Gibanje
Academic Realism Highly polished, carefully finished realism taught by the official art schools of the 1800s.

V kontekstu

Henry Bathurst, 3rd Earl Bathurst — William Salter

Dimenzije

Prvotne dimenzije so 53 × 43 cm (višina × širina), prikazane tukaj v primerjavi z odraslo osebo povprečne višine.

Kdaj je bilo to naslikano?

  1. 1800
  2. 1810
  3. 1820
  4. 1830
  5. 1840
  6. 1850
  7. 1860
  8. 1870

Zgornja vrstica: leta. Spodnja vrstica: starost umetnika na začetku in koncu vsakega obdobja — 0 ob rojstvu, 71 ob smrti.

Naslikano, ko je bil avtor star 30. Umetnik je živel 71. 1 od 85 datiranih del tega umetnika v našem katalogu je nastalo prej.

Osenčeno: življenjsko obdobje William Salter (1804–1875) ▲ to delo, 1834 vsaka datirana slika, desetletje za desetletjem

Prva dela: do 1838 Glavni delovni leti: 1838–1840 Pozna dela: od 1840

Ti trije pasovi razdelijo dela v tem katalogu na prvo četrtino, srednjo polovico in zadnjo četrtino. Niso popolna celotina umetnikovega dela: tanjka obdobja je lahko praznina v arhivu, ne le obdobje manj intenzivnega ustvarjanja. Iste leta, v katerih se odtisa življenje umetnika

Primerjajte z

Izberite eno od zgoraj navedenih del: navedite dve stvari, ki sta si z njim skupni, in eno stvar, ki je drugačna.

Več del, ki bi jih postavili ob to: originaluniqueart.com/sl/art/similar/william-salter-henry-bathurst-3rd-earl-bathurst-AQS94P-en/

Barve

Izmerjeno na podlagi slike

    Glavna barva

    Black #130a0a

    Shranjena paleta

    • #130A0A
    • #25120D
    • #AE7852
    • #552717

    Te barve v celotni umetnikovi paleti Poiščite druge slike po barvi

    Paleta barv
    Earthy Prevladujoča barvna družina na sliki.
    Naziv primarne barve
    Black
    Intenzivnost
    Monochromatic Stopnja zasičenosti in raznolikost barv, od enotnega, zamegljenega odtisa do številnih živahnih barv.
    Kontrast
    Serene V kolikšni meri se barve po svetlini in zasičenosti razlikujejo skozi celotno sliko.
    Harmonija
    Strong Color Unity Stopnja harmonije barv, od kontrastnih do popolnoma ujednotenih.
    Zasvetlina
    Deep_shadow Razmera svetloosti in temnine slike v celoti, od globokih senc do svetlih visokih svetlob.
    Zasičenost
    Subtle Color Kolikograščena in močna so barve, od skoraj sivih do popolnoma živahnih.

    Kje po svetu se gleda ta slika?

    • pod 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% in več
    Ta slika sama po sebi nima dovolj zabeleženih obiskovalcev za izdelavo zemljevida, zato plošča prikazuje vsako del avtorja William Salter v zadnjih dvanajst mesecih — skupaj 3 držav. Od kod ti podatki prihajajo

    Deset vodilnih držav

    1. 1 Kitajska 90,0%
    2. 2 Avstralija 5,0%
    3. 3 Francija 5,0%

    Na zemljevidu poiščite tri najtemnejše države. Ali se muzej, ki čuva to sliko, nahaja v kateri od njih? Zapišite en razlog, zakaj bi jo lahko gledali ljudje z daljave.

    20 najbolj gledanih del umetnika William Salter

    1. 1 Henry Bathurst, 3rd Earl Bathurst, 1834 ta slika 9,1%
    2. 2 William George Harris, 2nd Baron Harris, 1836 4,5%
    3. 3 Sir John Ormsby Vandeleur, 1838 4,5%
    4. 4 Henry D'Oyly, 1840 4,5%
    5. 5 Sir Alexander Dickson, 1838 4,5%
    6. 6 Arthur Moyses William Sandys, 2nd Baron Sandys, 1837 4,5%
    7. 7 Lord Robert William Manners, 1835 4,5%
    8. 8 Sir Edward Kerrison, 1st Bt, 1840 4,5%
    9. 9 George Lionel Dawson Damer, 1840 4,5%
    10. 10 Sir Henry Murray, 1840 4,5%
    11. 11 Arthur Wellesley, 1st Duke of Wellington, 1839 4,5%
    12. 12 William Elphinstone, 1839 4,5%
    13. 13 Thomas Hunter Blair, 1840 4,5%
    14. 14 Sir Charles Webb Dance, 1836 4,5%
    15. 15 Don Miguel Ricardo de Alava, 1840 4,5%
    16. 16 Clement Delves Hill, 1837 4,5%
    17. 17 William II of Holland, 1840 4,5%
    18. 18 The Waterloo Banquet, 1836 4,5%
    19. 19 Sir George Scovell, 1840 4,5%
    20. 20 Sir John May, 1840 4,5%

    Skupaj ti deli predstavljajo 94,6% vse pozornosti, ki so platna te umetnice dobila v zadnjih dvanajst mesecih. Katalog vsebuje 87 del te umetnice, pri čemer je bilo 21 vsaj enkrat ogledanih. Ta slika zaseda 1 mesto med njimi, s 9,1% takšne pozornosti. Isto velja tudi za vsak posamezen mesec

    Stolpci merijo pozornost, ne kakovost. Izberite del na vrhu in to: navedite eno stvar, ki bi lahko naredila sliko znano, oltre tem, kako je dobro naslikana.

    Umetnik in muzej

    Umetnik

    William Salter

    The Visionary Portraitist of a Changing Era

    In the heart of the nineteenth century, as Britain navigated the profound shifts of the Industrial Revolution and the expansion of its global influence, William Salter emerged as a painter capable of capturing the very soul of Victorian grandeur. Born in 1804 in the quiet town of Honiton, Devon, Salter’s early life was rooted in the traditional English landscape, yet his artistic spirit was destined for much larger stages. His journey from a student at Honiton Grammar School to a respected figure in the London art scene was paved with an unyielding dedication to classical mastery and an insatiable intellectual curiosity. Unlike many of his contemporaries who sought fame through mere trend-following, Salter’s approach was one of deep, scholarly immersion, blending the precision of a documentarian with the emotional depth of a true storyteller.

    The foundation of Salter's technical brilliance was laid far from the English coast. In 1822, he sought the rigorous training offered by the studios of James Northcote, a connection that would prove transformative for his developing style. This period of apprenticeship allowed him to absorb the nuances of light and shadow, preparing him for his subsequent Grand Tour of Italy. While traveling through the artistic heartlands of Florence and Padua, Salter did not merely observe; he engaged with the classical ideals of the Renaissance. It was during these Italian sojourn that works such as Socrates before his Judges were conceived, earning him significant acclaim among European intellectuals and establishing his reputation as an artist capable of handling complex, historical narratives with grace and psychological insight.

    A Monumental Legacy: The Waterloo Banquet

    The zenith of Salter’s career arrived in 1836 with the unveiling of his most ambitious and celebrated undertaking: The Waterloo Banquet. Commissioned by the Duke of Wellington himself, this colossal work was far more than a simple commemorative painting; it was a tableau vivant of historical magnitude. The canvas serves as a breathtaking window into a singular moment of British triumph, meticulously depicting approximately eighty distinguished individuals gathered to celebrate the victory at Waterloo. To execute such a feat, Salter had to possess an extraordinary capacity for observation, capturing not only the regalia and the magnificent silver chandelier by Domingos Antonio de Sequeira but also the subtle interpersonal dynamics of the assembled elite.

    Within this masterpiece, one finds the hallmark of Salter’s technique—a seamless blend of realism and atmosphere. He managed to convey the sheer scale of the event without sacrificing the individual dignity of his subjects. The painting, which remains a crown jewel of Apsley House, stands as a testament to his ability to synthesize historical documentation with artistic grandeur. Through his brush, the celebratory energy of the banquet is preserved for eternity, allowing modern viewers to feel the weight of the era's political and social significance.

    Portraiture, Precision, and Historical Significance

    Beyond the monumental scale of his historical compositions, Salter’s repertoire included a range of intimate portraits that showcased his mastery of character. His ability to render textures—the heavy crimson of a military uniform or the delicate lace of a lady's gown—made him a sought-after painter for the British aristocracy and military officers alike. Works such as Sir John Elley and Sir Colin Campbell demonstrate his skill in using chiaroscuro to create dramatic, lifelike presences that command the viewer's attention.

    Salter’s contribution to art history extends beyond the canvas; he was an educator and a traveler whose life reflected the intellectual vigor of his age. His legacy is defined by several key pillars:

    Technical Mastery: A profound command of classical academic traditions, refined through study in Italy and under masters like Northcote.

    Historical Documentation: The ability to transform historical events into enduring visual narratives that capture the zeitgeist of the 19th century.

    Psychological Depth: A talent for portraiture that moved beyond mere likeness to reveal the character and status of his subjects.

    Cultural Impact: His role in elevating British portraiture to a level of international prestige during the Victorian era.

    When William Salter passed away on 22 December 1875, he left behind a body of work that remains an essential archive of British identity. His paintings continue to serve as vital touchstones for understanding the elegance, the complexity, and the monumental ambitions of a nation at the height of its power.

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    Navodila za citiranje umetniškega dela

    MLA
    Salter, William. Henry Bathurst, 3rd Earl Bathurst. 1834, https://originaluniqueart.com/sl/art/william-salter-henry-bathurst-3rd-earl-bathurst-AQS94P-en/
    APA
    Salter, William (1834). Henry Bathurst, 3rd Earl Bathurst [Painting]. https://originaluniqueart.com/sl/art/william-salter-henry-bathurst-3rd-earl-bathurst-AQS94P-en/
    Chicago
    William Salter. Henry Bathurst, 3rd Earl Bathurst. 1834. https://originaluniqueart.com/sl/art/william-salter-henry-bathurst-3rd-earl-bathurst-AQS94P-en/
    Harvard
    Salter, William (1834) Henry Bathurst, 3rd Earl Bathurst. Available at: https://originaluniqueart.com/sl/art/william-salter-henry-bathurst-3rd-earl-bathurst-AQS94P-en/

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    Odgovorite z lastnimi besedami. Tukaj ni napačnih odgovorov — so le odgovori, ki jih lahko razložite.

    1. Kaj vas najprej pritegne in zakaj?
    2. Katere barve ali oblike ustvarjajo vzdušje — in kakšno je to vzdušje?
    3. Naš katalog to delo uvršča pod: 19th century portrait, british aristocracy, formal attire”. Se strinjate? Bi kaj dodali ali odvzeli?
    4. Oglejte si Sir Henry Wyndham (1840), ki ste ga že videli v prejšnjih delih tega priročnika. Navedite dve stvari, ki jih deli z tem delom, in eno, ki ga loči od njega.
    5. Academic Realism: Highly polished, carefully finished realism taught by the official art schools of the 1800s. Kje lahko to opazite v tem delu?

    Vaš odgovor

    Zapišite kratek odstavek o tem umetniškem delu. Uporabite dejstva iz prejšnjih delov tega priročnika in svoje odgovore zgoraj.

    Vprašanja in odgovori

    Kdaj je bilo ustvarjeno "Henry Bathurst, 3rd Earl Bathurst"?

    Ustvaritev dela "Henry Bathurst, 3rd Earl Bathurst" avtorja William Salter datiramo v 1834.

    Kateri umetnik in kateri slog stojita za "Henry Bathurst, 3rd Earl Bathurst"?

    Za delom "Henry Bathurst, 3rd Earl Bathurst" sta William Salter in gibanje Academic Realism.

    Katere teme se pojavljajo v delu "Henry Bathurst, 3rd Earl Bathurst" avtorja William Salter?

    "Henry Bathurst, 3rd Earl Bathurst" avtorja William Salter prikazuje: 19th century portrait, british aristocracy, formal attire”, “red sash detail”, “victorian era”, “earl bathurst”, “historical figure”.