The Day's Work, Hop Picking (Thérèse Lessore)
Thérèse Lessore (1884–1945) je izdelal The Day's Work, Hop Picking. Dimenzije so 77 × 54 cm.
- 77 × 54 cm
The Day's Work, Hop Picking, na kratek
- Naslov
- The Day's Work, Hop Picking
- Avtor
- Thérèse Lessore (1884–1945)
- Umetnik, rojen v
- Southwick, United Kingdom
- Dimenzije
- 77 × 54 cm
Visokoresolucijske slike dela The Day's Work, Hop Picking
Javna lastnina: umetnik je umrl leta 1945.
Thérèse Lessore, The Day's Work, Hop Picking. Javna lastnina
Odgovori na vprašanja o The Day's Work, Hop Picking
Kakšnih je originalnih dimenzij "The Day's Work, Hop Picking"?
Dimenzije originalnega dela "The Day's Work, Hop Picking" avtorja Thérèse Lessore so 77 x 54 cm.
Ali je "The Day's Work, Hop Picking" v javni domeni?
"The Day's Work, Hop Picking" avtorja Thérèse Lessore je v javni domeni (v javni domeni – avtorska pravica je zastarela). Ta status določa način, kako se lahko slika dela reproducira.
Kateremu umetniku je "The Day's Work, Hop Picking" pripisano?
Delo "The Day's Work, Hop Picking" je ustvaril Thérèse Lessore. Informacije na tej strani opisujejo izvirno delo umetnika Thérèse Lessore.
Ali je delo "The Day's Work, Hop Picking" avtorja Thérèse Lessore v javni lastini in zakaj?
"The Day's Work, Hop Picking" avtorja Thérèse Lessore je v javni domeni – avtorska pravica je zastarela. Avtorske pravice se izračunajo od smrti umetnika, ki je umrl leta 1945.
O umetniku, 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.