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Vodič za studentske radove

Sunset Glory

Ime Razred Datum

Elliott Dangerfield, Sunset Glory (1915). Domen javnog dobra. Pogledajte ovo platno pod pokretnim svetlom: crtež, pravu boju ispod vernisa, čisti pigment

Osnovne informacije

Umetnik
Elliott Dangerfield originaluniqueart.com/sr/artists/elliott-dangerfield/
Podaci o umetniku
1859 – 1932
Slikano
1915

U kontekstu

Sunset Glory — Elliott Dangerfield

Godina nastanka

  1. 1850
  2. 1860
  3. 1870
  4. 1880
  5. 1890
  6. 1900
  7. 1910
  8. 1920
  9. 1930

Red iznad: godine. Red ispod: koliko je umetnik imao godina na početku i na kraju svakog perioda — 0 u rođenju, 73 u smrti.

Naslikano kada je umetnik imao 56 godina. Umetnik je doživeo 73. 17 od 25 datiranih dela ovog umetnika u našem katalogu nastalo je ranije.

Osenčeno: životni vek umetnika Elliott Dangerfield (1859–1932) ▲ ovo delo, 1915 svaka datirana slika, deceniju po deceniju

Prva dela: do 1893 Glavne radne godine: 1893–1915 Kasna dela: od 1915

Ova tri segmenta dele dela koja u ovom katalogu imaju naveden datum na prvi kvartal, srednju polovinu i poslednji kvartal. Ona ne predstavljaju kompletan umetnikov opus: tanji niz može biti praznina u arhivu pre nego period mirovanja. Iste godine kroz koje se proteže život umetnika

Slična dela

Izaberite jedno od gore navedenih dela: navedite dve stvari koje su mu zajedničke sa ovim i jednu stvar koja ga razlikuje.

Još dela koja se mogu postaviti pored ovog: originaluniqueart.com/sr/art/similar/elliott-dangerfield-sunset-glory-8YE49B-en/

Paleta boja

Izmereno na osnovu slike

    Glavna boja

    Espresso #57321f

    Katalogizovana paleta

    • #57321F
    • #291013
    • #DC9931
    • #995E29

    Ove boje unutar cele umetnikove palete Pronađite druge slike prema boji

    Paleta
    Dark Dominantna grupa boja na slici.
    Naziv glavne boje
    Espresso
    Intenzitet
    Balanced Koliko su boje zasićene i raznolike, od jedne prigušene nijanse do mnoštva jarkih tonova.
    Kontrast
    Statement Razlika u svetlini i zasićenosti boja širom slike.
    Harmonija
    Balanced Harmony Koliko se dobro boje uklapaju, od kontrastnih do potpuno ujedinjenih.
    Osvetljenost
    Deep_shadow Koliko je slika u celini svetla ili tamna, od duboke senke do najsvetlijih tonova.
    Zasićenost
    Balanced Soft Koliko su boje čiste i snažne, od skoro sivih do potpuno živopisnih.

    Gde u svetu se posmatra ova slika?

    • ispod 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% i više
    Ova slika sama po sebi ima premalo zabeleženih posetilaca da bi se napravila mapa, pa ploča prikazuje svaki rad koji je kreirao Elliott Dangerfield tokom poslednjih dvanaest meseci — ukupno u 2 zemalja. Odakle ovi podaci potiču

    Deset vodećih zemalja

    1. 1 Кина 60,0%
    2. 2 Сједињене Америчке Државе 40,0%

    Pronađite tri najtamnije zemlje na mapi. Da li se muzej u kojem se čuva ova slika nalazi u bilo kojoj od njih? Navedite jedan razlog zbog kojeg bi je ljudi sa dalekih mesta mogli posmatrati.

    6 najposećenijih dela umetnika Elliott Dangerfield

    1. 1 The Sisters (also known as Marjorie ^ Gwendoline Daingerfield), 1920 40,0%
    2. 2 Night of the Titanic, 1912 30,0%
    3. 3 The Sleepers, 1914 10,0%
    4. 4 Large Landscape (also known as Grandfather Mountain in the Mist) 10,0%
    5. 5 Westglow, 1915 10,0%
    6. — Sunset Glory, 1915 ova slika 0,0%

    Zajedno, ova dela privlače 100,0% pažnje koju su slike ovog umetnika dobile tokom poslednjih dvanaest meseci. Katalog sadrži 29 dela ovog umetnika, od kojih je 5 pregledano barem jednom. Ova slika još uvek nije pregledana u tom periodu — ona zatvara listu bez rangiranja. Isto važi i za mesec po mesec

    Barovi mere pažnju, ne kvalitet. Odaberite rad na vrhu i ovaj: navedite jednu stvar koja bi sliku mogla učiniti slavnom pored toga koliko je dobro naslikana.

    Umetnik i muzej

    Umetnik

    Elliott Dangerfield

    Mesto rođenja West Virginia, United States of America

    The Soul of the Appalachians: The Life and Legacy of Elliott Dangerfield

    In the quiet, mist-shrouded valleys of West Virginia, a profound artistic vision was forged during the late nineteenth century. Elliott Dangerfield (1859–1932) emerged from this rugged landscape not merely as a chronicler of scenery, but as a poet of light and atmosphere. Born in Fayetteville, his early years were steeped in the natural grandeur of the American wilderness, an environment that would later serve as the primary heartbeat of his creative output. While many of his contemporaries sought the frantic energy of urban expansion, Dangerfield turned his gaze inward toward the enduring tranquility of the Appalachian mountains, finding a spiritual resonance in the subtle shifts of color and the soft, encroaching shadows of the rural landscape.

    Dangerfield’s journey from a provincial upbringing to the prestigious artistic circles of New York City represents a classic narrative of American artistic development. His formal training began under the guidance of Walter Satterlee at the National Academy of Design, where he mastered the foundational principles of tonal realism. This period of rigorous study provided him with the technical vocabulary necessary to translate the complexities of nature onto canvas. However, it was his exposure to the burgeoning American Impressionist movement that truly liberated his brush. By blending the precision of academic training with a more fluid, emotive approach to light, he began to develop a style that felt both grounded in reality and elevated by a dreamlike, nostalgic quality.

    A Mastery of Tonalism and Light

    The true essence of Dangerfield’s work lies in his sophisticated use of tonalism—a movement that sought to evoke mood and emotion through a limited palette and atmospheric effects. Unlike the high-contrast drama of some landscape painters, Dangerfield preferred the nuanced gradations of dusk, dawn, and moonlight. His canvases often feature a delicate interplay of golden light and melancholic shadows, creating a sense of "Appalachian Serenity" that invites the viewer into a state of quiet contemplation. He possessed a remarkable ability to manipulate pigments to achieve a palpable sense of humidity, mist, and warmth, making the air within his paintings feel almost tangible.

    His influences were as profound as the landscapes he painted. Drawing inspiration from luminaries such as Frederic Church and George Inness, Dangerfield embraced the idea that a landscape could serve as a vessel for the human spirit. His technique often utilized subtle impasto textures to catch the light, particularly in works like Moonlit Landscape (1915), where the interplay of silver moonlight and deep earth tones creates a dramatic yet serene nocturnal scene. Whether depicting a sun-drenched field in High Noon or the brooding tension of The Spirit of the Storm, his work remains anchored by a profound respect for the inherent dignity of the natural world.

    Historical Significance and Artistic Enduring Spirit

    Throughout his prolific career, Dangerfield remained a steadfast observer of the American countryside. While he achieved recognition within the competitive New York art scene, his heart never strayed far from the mountains of his youth. This dedication to his roots allowed him to capture a specific era of American life—a period of transition where the wild frontier was beginning to settle into the pastoral beauty of the early twentieth century. His paintings serve as vital historical documents, preserving the light and atmosphere of a landscape that has since been irrevocly changed by time.

    The legacy of Elliott Dangerfield is found in the emotional resonance of his compositions. He did not seek to overwhelm the viewer with grand, sweeping spectacles; instead, he mastered the art of the intimate moment. His contributions to American landscape art are characterized by:

    Atmospheric Precision: An unparalleled ability to render the subtle effects of light, mist, and weather.

    Emotional Depth: The use of tonalism to evoke feelings of nostalgia, peace, and a gentle, beautiful melancholy.

    Regional Devotion: A lifelong commitment to portraying the unique character and spirit of the Appalachian wilderness.

    Today, Dangerfield’s work continues to captivate collectors and historians alike, standing as a testament to the power of observation and the enduring beauty of the American landscape.

    Saznajte više

    Pronađite ovo na mreži

    QR kod koji vodi na stranicu za preuzimanje Sunset Glory

    originaluniqueart.com/sr/art/download/elliott-dangerfield-sunset-glory-8YE49B-en/

    Citiranje ovog umetničkog dela

    MLA
    Dangerfield, Elliott. Sunset Glory. 1915, https://originaluniqueart.com/sr/art/elliott-dangerfield-sunset-glory-8YE49B-en/
    APA
    Dangerfield, Elliott (1915). Sunset Glory [Painting]. https://originaluniqueart.com/sr/art/elliott-dangerfield-sunset-glory-8YE49B-en/
    Chicago
    Elliott Dangerfield. Sunset Glory. 1915. https://originaluniqueart.com/sr/art/elliott-dangerfield-sunset-glory-8YE49B-en/
    Harvard
    Dangerfield, Elliott (1915) Sunset Glory. Available at: https://originaluniqueart.com/sr/art/elliott-dangerfield-sunset-glory-8YE49B-en/

    Pogledajte pažljivije

    Sunset Glory — Elliott Dangerfield

    Pažljiviji pogled

    Odgovorite svojim rečima. Ovde nema netačnih odgovora — postoje samo odgovori koje možete objasniti.

    1. Šta vam prvo privuče pažnju i zašto?
    2. Koje boje ili oblici stvaraju atmosferu — i kakva je to atmosfera?
    3. U našem katalogu ovo delo je klasifikovano pod: sunset. Da li se slažete? Šta biste dodali ili uklonili?
    4. Vratite se na The Spirit of the Storm (1912), koji ste ranije videli u ovom vodiču. Navedite dve zajedničke karakteristike ovog i prethodnog dela, kao i jednu koja ih razlikuje.
    5. Elliott Dangerfield je imao oko 56 godina kada je ovo nastalo. Šta u ovom delu podseća na rad umetnika u toj životnoj fazi?

    Vaš odgovor

    Napišite kratak pasus o ovom umetničkom delu. Koristite činjenice iz prethodnih delova ovog vodiča i svoje odgovore navedene iznad.

    Pitanja i odgovori

    Da li je „Sunset Glory”, Elliott Dangerfield u javnom vlasništvu?

    Što se tiče autorskih prava, "Sunset Glory" je u javnom vlasništvu – autorska prava su istekla.

    Da li su boje dela „Sunset Glory”, Elliott Dangerfield živopisne ili prigušene?

    „Sunset Glory”, Elliott Dangerfield je zabeležen sa Balanced Soft zasićenosti i Balanced intenzitetom.

    Da li su boje dela „Sunset Glory”, Elliott Dangerfield zasićene ili prigušene?

    Boje dela „Sunset Glory”, Elliott Dangerfield imaju Balanced Soft zasićenost. Zasićenost opisuje koliko su boje jarke ili prigušene.