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Guide til elevkunst

Doll

Navn Klasse Dato

Mary Ann Evans, Doll (1835), The Herbert Art Gallery and Museum. Public domain. Se dette lærred i bevægeligt lys: tegningen, den sande farve under lakken, det rå pigment

Fakta om værket

Kunstner
Mary Ann Evans artsdot.com/da/artists/mary-ann-evans/
Kunstnerens årstal
1819 – 1880
Malet
1835
Afholdt hos
The Herbert Art Gallery and Museum artsdot.com/da/museums/the-herbert-art-gallery-and-museum-coventry/

I kontekst

Doll — Mary Ann Evans

Hvornår er dette malet?

  1. 1810
  2. 1820
  3. 1830
  4. 1840
  5. 1850
  6. 1860
  7. 1870
  8. 1880

Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 61 ved død.

Malet da kunstneren var 16 år gammel. Kunstneren blev 61 år gammel. 0 af de 1 daterede værker af denne kunstner i vores katalog er skabt tidligere.

Skyggelagt: Mary Ann Evans' livstid (1819–1880) ▲ dette værk, 1835 hvert dateret maleri, årti for årti

Sammenlign med

Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.

Se flere lignende værker her: artsdot.com/da/art/similar/mary-ann-evans-doll-D9VFT7-en/

Farver

Målt ud fra billedet

    Primær farve

    Rosy Brown #9c9488

    Katalogiseret palet

    • #9C9488
    • #5C554D
    • #807A75
    • #D6CDBA

    Disse farver i kunstnerens samlede palet Find andre malerier efter farve

    Farvepalette
    Neutrals Den dominerende farvefamilie i billedet.
    Navn på hovedfarve
    Rosy Brown
    Intensitet
    Monochromatic Hvor mættede og varierede farverne er, fra en enkelt dæmpet nuance til mange klare nuancer.
    Kontrast
    Gentle Hvor meget farverne varierer i lysstyrke og mætning på tværs af billedet.
    Harmoni
    Unified Palette Hvor godt farverne spiller sammen, fra kontrasterende til fuldstændig harmoniske.
    Lysstyrke
    Brilliant Hvor lyst eller mørkt billedet fremstår samlet set, fra dybe skygger til lyse højlys.
    Mætning
    Muted Hvor rene og stærke farverne er, fra næsten grå til fuldt livlige.

    De 2 mest viste værker af Mary Ann Evans

    1. 1 Thousands are Sailing, 2016 100,0%
    2. — Doll, 1835 dette maleri 0,0%

    Sammen udgør disse værker 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 4 værker af denne kunstner, hvoraf 1 er blevet set mindst én gang. Dette maleri er endnu ikke blevet vist i denne periode — det afslutter listen uden en rangering. Det samme gælder måned for måned

    Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.

    Om dette kunstværk

    Doll — Mary Ann Evans

    This cloak is reported to have been made by Mary Ann Evans (George Eliot) and her school fellows, although it is not clear how old she was when it was made. Mary Ann attended three boarding schools. Miss Lathom’s in Attleborough, Nuneaton from ages five to six. She then moved to Mrs Wallington’s in Nuneaton and stayed there until she was twelve. The last move was in 1832 to Miss and Miss Franklin’s school, Nant Glyn, in Coventry. Mary Ann stayed there until her mother’s ill health called her back home around Christmas 1835.

    Kunstner og museum

    Kunstner

    Mary Ann Evans

    Født i Nuneaton, United Kingdom

    Mary Ann Evans (George Eliot): A Portrait of Victorian England

    Born Mary Ann Evans in Nuneaton, Warwickshire, in 1819, George Eliot’s life was a remarkable transformation—a testament to the power of education and intellectual pursuit. Initially raised in a humble household, her early experiences instilled within her a keen observation of human nature and a deep connection to the rural landscape of England. Her pen name, George Eliot, became a deliberate shield, allowing her to break through the societal constraints placed upon women writers during the Victorian era and establish herself as a serious literary voice.

    Evans’s journey began with a challenging childhood marked by poverty and family hardship. However, she received an exceptional education thanks to the generosity of a local benefactor who recognized her potential. This access to learning fueled a lifelong love of reading and writing, laying the foundation for her future success. She worked as a printer's devil and later as a journalist, honing her skills in observation, detail, and narrative—qualities that would prove invaluable in her literary career.

    The Rise of George Eliot: Literary Innovation

    George Eliot’s novels are celebrated for their unflinching realism, psychological depth, and profound understanding of rural England. Unlike many contemporary writers who focused on romanticized depictions of the countryside, Eliot meticulously portrayed the lives of ordinary people—farmers, laborers, and women—with honesty and empathy. Her works explored complex social issues such as poverty, class divisions, religious hypocrisy, and the changing roles of women in Victorian society.

    Her early novels, like The Mill on the Floss (1861) and Adam Bede (1860), established her reputation for detailed character development and a nuanced portrayal of provincial life. These works demonstrated a remarkable ability to capture the rhythms of rural existence and the emotional lives of its inhabitants. Later, she tackled more ambitious themes in novels such as Middlemarch (1871-72) – widely considered one of the greatest English novels ever written – exploring the intricacies of marriage, ambition, and social expectations within a complex community.

    Influences and Artistic Style

    Eliot’s writing was deeply influenced by her own experiences and observations. She drew heavily on the landscapes and communities she encountered during her travels and spent considerable time immersed in rural life. Her meticulous research—including interviews with local residents and detailed descriptions of settings—contributed to the authenticity of her novels. She also admired the works of novelists like Charles Dickens, but sought to move beyond sentimentality and melodrama towards a more psychologically realistic approach.

    Her artistic style is characterized by its precision, clarity, and psychological insight. Eliot’s prose is renowned for its evocative descriptions of nature and its ability to convey complex emotions with subtlety and restraint. She employed a third-person narrator that allowed her to delve into the inner lives of her characters, offering readers intimate access to their thoughts and motivations.

    A Legacy of Realism and Social Commentary

    George Eliot’s impact on Victorian literature is undeniable. Her novels challenged conventional literary norms and paved the way for a new generation of writers who prioritized realism and psychological complexity. She demonstrated that great art could be found not only in grand narratives but also in the everyday lives of ordinary people.

    Furthermore, her work remains remarkably relevant today, prompting ongoing discussions about social justice, gender roles, and the complexities of human relationships. Her legacy is secured through her enduring novels, which continue to captivate readers with their timeless themes and profound insights into the human condition. The connection between George Eliot and Sara Hennell (or Cara Bray), a fellow artist and writer who contributed illustrations for some of her works, adds another layer to her story—a testament to the collaborative spirit within the literary world of 19th-century England.

    Further Exploration

    Doll: Explore this evocative artwork depicting a young girl.

    Mary Ann Evans: Discover more about her life and career.

    Thousands are Sailing: Admire this painting capturing a scene of maritime activity.

    Sara Hennell or Cara Bray: Learn about her connection to George Eliot and her watercolor paintings.

    Museum

    The Herbert Art Gallery and Museum

    Udstillet i Coventry, United Kingdom

    A Tapestry of Time: The Soul of Coventry

    In the heart of a city defined by its remarkable resilience, standing as a beacon of cultural rebirth amidst the echoes of history, lies The Herbert Art Gallery and Museum. To enter this institution is to step into a living chronicle, where the very fabric of Coventry’s identity is woven through layers of time. Established in 1939 by the visionary industrialist Sir Alfred Herbert, the museum’s origins are deeply intertwined with the anxieties and triumphs of the mid-twentieth century. While the shadows of World War II momentarily paused its progress, the formal opening in 1960 marked the dawn of a sanctuary for human creativity. The building itself serves as a modern architectural bridge, thoughtfully integrated into the urban landscape of Jordan Well, designed to facilitate both the grand, sweeping narratives of fine art and the intimate, whispered stories found within archaeological fragments.

    The museum’s collection is far more than a mere assembly of objects; it is an expansive dialogue between the past and the present. For the discerning collector or lover of material history, the ceramics assemblage offers a profound journey through form and function. One can trace the delicate, translucent elegance of porcelain to the robust, earth-bound character of earthenware, each piece serving as a tactile witness to the hands that molded it and the kilns that breathed life into clay. This mastery of medium is mirrored in the fine art galleries, where the grandeur of Old Masters like Luca Giordano meets the provocative energy of contemporary voices. The recent acquisition of Ali Cherri's

    “The Madonna of the Cat”

    exemplifies this commitment to an evolving aesthetic, ensuring that the museum remains a vital participant in today’s global artistic discourse.

    A Convergence of Heritage and Innovation

    What distinguishes The Herbert from more traditional repositories is its refusal to dwell solely in retrospection. It is a place where the ancient and the avant-garde coexist in a vibrant, breathing ecosystem. Visitors may find themselves tracing the footsteps of Roman Britain through remarkable artifacts before being swept into the poignant, photographic documentation of modern urban life. The museum champions voices that are often marginalized, hosting celebrated exhibitions such as

    “Break In The Seal”

    by Pogus Caesar and the evocative works of Vanley Burke, which challenge perceptions of identity and transformation. This dedication to social history is further enriched by the presence of the Coventry Archives, allowing researchers and enthusiasts alike to rediscover their own ancestral threads within the city's vast tapestry.

    For those who find inspiration in the intersection of nature and art, the museum’s holdings include the evocative watercolor landscapes of Sydney John Bunney, whose work captures the serene, fleeting beauty of the British countryside with unparalleled sensitivity. Similarly, the artistic legacy of Sara Hennell—whose life and work were intimately linked to the literary world of George Eliot—offers a window into the profound cultural connections that define this region. As the museum continues to embrace technological advancement, through partnerships like those with Google Arts & Culture, it extends its reach far beyond the West Midlands, inviting the entire world to witness the enduring beauty held within its walls. For the interior designer seeking a sense of place or the art enthusiast searching for depth, The Herbert offers an inexhaustible wellspring of inspiration, where every object tells a story of survival, creativity, and the eternal human spirit.

    Læs mere her

    Findes online

    QR-kode med link til downloadside for Doll

    artsdot.com/da/art/download/mary-ann-evans-doll-D9VFT7-en/

    Kildehenvisning til dette kunstværk

    MLA
    Evans, Mary Ann. Doll. 1835, The Herbert Art Gallery and Museum. https://artsdot.com/da/art/mary-ann-evans-doll-D9VFT7-en/
    APA
    Evans, Mary Ann (1835). Doll [Painting]. The Herbert Art Gallery and Museum. https://artsdot.com/da/art/mary-ann-evans-doll-D9VFT7-en/
    Chicago
    Mary Ann Evans. Doll. 1835. The Herbert Art Gallery and Museum. https://artsdot.com/da/art/mary-ann-evans-doll-D9VFT7-en/
    Harvard
    Evans, Mary Ann (1835) Doll. The Herbert Art Gallery and Museum. Available at: https://artsdot.com/da/art/mary-ann-evans-doll-D9VFT7-en/

    Se nærmere efter

    Doll — Mary Ann Evans

    Se nærmere efter

    Svar med dine egne ord. Der er ingen forkerte svar her – kun svar, som du kan forklare.

    1. Hvad fanger dit øje først, og hvorfor?
    2. Hvilke farver eller former skaber stemningen — og hvad er den stemning?
    3. Se tilbage på Thousands are Sailing (2016) tidligere i denne guide. Nævn to ting, som det har til fælles med dette værk, og én ting, der er forskellig.
    4. Mary Ann Evans var omkring 16 år gammel, da dette blev skabt. Hvad i værket bærer præg af at være skabt af en kunstner på det stadie?
    5. Hvad har kunstneren måske ønsket, at du skulle føle?

    Dit svar

    Skriv et kort afsnit om dette kunstværk. Brug fakta fra de tidligere dele af denne guide samt dine svar ovenfor.

    Spørgsmål og svar

    Er "Doll" af Mary Ann Evans i det offentlige domæne?

    Ophavsretsstatus for "Doll" af Mary Ann Evans: værket er i det offentlige domæne – ophavsretten er udløbet. Dette afgør, om der frit må foretages reproduktioner af billedet.

    Hvordan balancerer "Doll" lys og mørke?

    "Doll" af Mary Ann Evans er registreret med en lysstyrke på brilliant og en luminans på Gentle Luminance.

    Bruger "Doll" af Mary Ann Evans stærke kontraster eller bløde harmonier?

    I "Doll" parres en Gentle kontrast med en Unified Palette harmoni.