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Nicholas Chevalier

Kapiti

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Prezzo totale

€ 56

Kapiti

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€ 56

This essay originally appeared in New Zealand Art at Te Papa (Te Papa Press, 2018). Nicholas Chevalier is a rather glamorous figure in nineteenth-century New Zealand painting, having travelled widely in Europe and studied at the Academy of Munich and the Royal Academy, London. From Melbourne, he made his second visit to New Zealand, travelling around the lower North Island in November 1868 as part of the Duke of Edinburgh’s entourage on HMS Galatea. The two watercolours made on this journey, Near Paekakariki, Cook Strait and Kapiti, are directly associated with the larger watercolour Cook’s Strait, New Zealand and the oil painting Cook Strait, New Zealand. It was typical practice of nineteenth-century landscape artists to use the sketches and watercolours made on site as the basis for larger, studio-based watercolours or oil paintings. Both Cook’s Strait, New Zealand and Cook Strait, New Zealand were created in this way. The original watercolours are factual and topographical records of a first impression, from which the larger watercolour and the oil painting take their cues. The three Māori waka in Near Paekakariki, Cook Strait are reproduced in both later images. In the oil painting they have been transferred to a beach further up the coast to align them geographically with the view of Kapiti Island. Similarly, the pattern of waves in Kapiti has been repeated in the oil painting. In Near Paekakariki, Cook Strait, the figures engaged in a typical food-gathering activity add a picturesque element to the scene, which Chevalier has enhanced with a more detailed, colourful group of figures adjacent to the waka in the larger watercolour. The figure with the horse in Kapiti emphasises the breadth and depth of the seascape in the oil painting. In each of the watercolours the size of the figures in relation to their surroundings underlines the grandeur of nature and introduces an element of the sublime — the aesthetic quality inspiring awe and even fear. The larger formats and turbulent atmosphere depicted in both later works reinforce this aspect of the romantic landscape tradition. Though used as visual notes towards the oil painting, both Near Paekakariki, Cook Strait and Kapiti are finished works in their own right. Tony Mackle

Domande e risposte

Come posso visualizzare "Kapiti" di Nicholas Chevalier in modalità presentazione?

Il diaporama di "Kapiti" è disponibile nella pagina Slideshow dell'opera.

Quale tonalità dominante caratterizza "Kapiti" di Nicholas Chevalier?

La tonalità dominante di "Kapiti" di Nicholas Chevalier è Green to Violet Spectrum, un colore che costituisce il tono di fondo dell'intera tavolozza.

Come posso visualizzare un'anteprima di una riproduzione di "Kapiti" di Nicholas Chevalier?

È disponibile un'anteprima di "Kapiti" di Nicholas Chevalier nella pagina Anteprima in ambiente dell'opera.

Opere simili

Donna Che Tiene Un Equilibrio — Johannes Vermeer, Dutch Golden Age Painting
Johannes Vermeer Donna che tiene un equilibrio
Donna Con Bilancia — Johannes Vermeer, Dutch Baroque
Johannes Vermeer Donna con bilancia
Donna Che Tiene Una Bilancia — Johannes Vermeer, Dutch Golden Age Painting
Johannes Vermeer Donna che tiene una bilancia
Donna Che Tiene Un Equilibrio — Johannes Vermeer, Dutch Baroque
Johannes Vermeer Donna che tiene un equilibrio
Donna Che Tiene Un Bilanciare Detalj 4 Ngw — Johannes Vermeer, Età D'oro Olandese
Johannes Vermeer Donna che tiene un bilanciare detalj 4 ngw
Donna Che Tiene Un Bilancia Dettagli 5 Ngw — Johannes Vermeer, Northern Renaissance
Johannes Vermeer Donna che tiene un bilancia dettagli 5 ngw
Ritratto Di Una Donna Con Una Bilancia — Thomas De Keyser, Ritrattistica Dell'età Dell'oro Olandese
Thomas De Keyser Ritratto di una donna con una bilancia
Dritto Della Neutralità Americana — Karl Otto Götz, Art Informel Tedesco
Karl Otto Götz Dritto della Neutralità Americana
Donna Con La Bilancia Dettaglio 1 Ngw — Johannes Vermeer, Pittura Dell'età Dell'oro Olandese
Johannes Vermeer Donna con la bilancia dettaglio 1 ngw
Mare 2 — William Trost Richards, Hudson River School
William Trost Richards Mare 2

Biografia dell'artista

early life and career

Nicholas Chevalier, born May 9, 1828, in Saint Petersburg, Russia, was the son of Louis Chevalier, who oversaw the estates of Prince de Wittgenstein in Russia. His mother was Russian. From a young age, he demonstrated an aptitude for art, nurtured by his father’s encouragement and influenced by the artistic fervor of the era. In 1845, Nicholas embarked on his formal artistic education journey, traveling to Lausanne, Switzerland, and Munich, where he honed his skills in painting and architecture. This formative period exposed him to European artistic trends and established a foundation for his future endeavors.

artistic journey

Chevalier’s artistic trajectory led him to London in 1851, where he found employment as an illustrator in lithography and watercolor. His meticulous attention to detail and mastery of technique quickly garnered recognition within the artistic community. He undertook prestigious commissions, including the design of a fountain erected in the royal grounds at Osborne, showcasing his versatility and ambition. Furthermore, two of his paintings were exhibited at the Academy in 1852, cementing his reputation as a rising talent. Before relocating to Australia in late 1854, he pursued further studies in Rome, immersing himself in classical art traditions and broadening his artistic horizons. During this time, he began to develop his distinctive style—characterized by luminous colors and expressive brushstrokes—which would become hallmarks of his oeuvre.

mount arapiles & australian landscapes

One of Chevalier’s most celebrated works is “Mount Arapiles,” painted in 1854 during his Australian expedition. This monumental landscape captures the grandeur of Victoria's alpine wilderness with breathtaking accuracy and emotional depth. Collaborating closely with Lady Barkly, he created a stunning gift for Princess Louise—a depiction of Australian flora and fauna—demonstrating his commitment to documenting the natural beauty of the continent. In 1864, “The Buffalo Ranges” was selected by the National Gallery of Victoria as the inaugural painting in Melbourne’s collection, marking a pivotal moment in Australian art history and establishing Chevalier's place among the pioneers of landscape painting in Australia.

later life & royal commissions

Chevalier continued to produce artwork throughout his lifetime, receiving commissions from Queen Victoria herself—most notably for a portrait of Prince Edward (later King Edward VII). He established a studio in London, where he exhibited regularly at the Academy until 1887, maintaining an active presence within the artistic landscape. Despite abandoning painting by 1895, Chevalier’s legacy endured thanks to his enduring influence on subsequent generations of artists and his contribution to documenting the visual culture of Victorian Britain. He married Caroline Wilkie in 1855—a relative of Sir David Wilkie—and possessed remarkable linguistic skills—fluent in French, English, Russian, German, Italian, and Portuguese—reflecting his cosmopolitan outlook. His paintings are housed in prominent museums worldwide, including the Museum of New Zealand Te Papa Tongarewa, Dunedin Public Art Gallery, and National Gallery Victoria, ensuring that his artistic vision continues to inspire audiences today.
Nicholas Chevalier

Nicholas Chevalier

1828 - 1902 , Russia

Dettagli rapidi

  • Artistic Movement Or Style: Victorian Art
  • Artists Or Movements Influenced By This Artist: ['Romanticism']
  • Artists Who Influenced This Artist: ['David Wilkie']
  • Date Of Birth: May 9, 1828
  • Date Of Death: 1902
  • Full Name: Nicholas Chevalier
  • Nationality: Russian
  • Notable Artworks:
    • Mount Arapiles
    • The Buffalo Ranges
    • Noon Cannon
  • Place Of Birth: Saint Petersburg, Russia