学生作品ガイド
著作権 この作品は、現在も著作権の保護対象です。David Tindle は 1932 に生まれ、没年は記録されていません。著作権は、作者の死後 70 年間存続します。この画像は教育目的の参照用として掲載されており、権利は権利者に帰属します。
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High Room — David Tindle
原寸は 60 × 80 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
上の行：年。下の行：各期間の開始時と終了時の年齢（誕生時を0歳として計算）。
作家が 57 歳の時に制作。 0 of the 4 dated works by this artist in our catalogue came earlier.
▲ 本作品、1989 年代ごとに並ぶ、すべての制作年入り作品
上記の作品から一つ選んでください。その作品と共通する点を2つ、異なる点を1つ挙げてください。
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画像から抽出したカラーパレット
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Celadon #b9bdb4
保存済みパレット
アーティストのパレット全体を構成するこれらの色彩 色から他の絵画を探す
主要な10カ国
地図上で最も色が濃い3つの国を見つけてください。この絵画を収蔵している美術館は、そのいずれかの国にありますか？遠く離れた場所にいる人々が、この作品に目を向ける理由を一つ書き出してください。
これらの作品は、このアーティストの絵画が過去12か月間に受けた注目全体の 100.0% を占めています。カタログにはこのアーティストによる 11 点の作品が収められており、そのうち 2 点は少なくとも一度は閲覧されました。 この作品は現時点ではまだ閲覧されていないため、順位なしとしてリストの最後に表示されています。 月ごとの集計結果は同一です
バーは注目度を示すものであり、品質を示すものではありません。リストの最上部にある作品と、こちらの作品を選んでください：絵画がその技術的な巧拙を超えて有名になる要因として、考えられることを一つ挙げてください。
アーティストと美術館
David Tindle remains a significant figure in British realism, a fact cemented by his election as a Royal Academician in 1979. Born in Huddersfield, Yorkshire, on 29 April 1932, his career has been defined by a disciplined adherence to technical precision. While many of his contemporaries moved toward abstraction, Tindle maintained a focus on the subtle interplay of light and atmosphere. His work possesses a quiet profundity that avoids the need for grandiosity, relying instead on the structural integrity of his subjects.
His practice is characterized by a specific, demanding approach to the egg tempera medium. This choice dictates the pace and texture of his output, requiring a layered, patient application to achieve its characteristic luminosity. He often captures glimpsed views through openings, creating a sense of space that feels both intimate and distant. This method allows him to render ordinary domestic scenes or expansive landscapes with a similar level of intense, observational clarity.
Currently, Tindle resides in Santa Maria del Giudice, near Lucca, Italy. His long-term presence in Europe reflects a life spent observing the nuances of light across different landscapes. His ability to translate these observations into permanent, detailed records ensures his continued relevance in contemporary realist circles. His catalog includes several notable subjects:
Justin Gosling, Principal (1982–1996)
Born in Huddersfield, Yorkshire, David Tindle’s early trajectory was defined by a rapid immersion into the technical demands of visual production. His training was not a singular, linear path but a series of practical engagements with the medium. Between 1945 and 1946, he spent six months studying art at the Lanchester College of Technology, a period that provided an immediate, functional foundation before he moved into more formal academic settings.
This early technical grounding led him to the Coventry School of Art, where he studied from 1945 to 1947. This period was crucial for establishing the discipline required for his later precision. During these formative years, Tindle also gained practical experience working with the theatrical scene painter Edward Delaney in Birmingham. This exposure to large-scale scenic work offered a stark contrast to the intimate, detailed nature of his later egg tempera paintings, grounding his development in the physical realities of pigment and surface.
Tindle’s professional trajectory moved from early exhibition success to significant institutional influence. He held his first solo show in 1954 at the Piccadilly Gallery in London. This early recognition preceded a long period of academic engagement. Between 1959 and 1972, he held tutoring positions at both Hornsey College of Art and the Byam Shaw School of Art. These roles established his presence within the British art education system, moving from foundational instruction to more specialized guidance.
His influence expanded further when he joined the Royal College of Art as a Tutor from 1972 to 1983. This decade of teaching at one of the UK's most prominent art institutions solidified his standing among his peers. His expertise was later recognized by Oxford University, where he served as the Ruskin Master of Drawing from 1985 to 1987. This appointment underscores a career defined by technical authority and a commitment to the formal study of drawing and painting.
Tindle’s practice is defined by the disciplined application of egg tempera. This medium requires a meticulous approach, building color through translucent layers to achieve a specific luminosity. His technical precision allows him to capture subtle shifts in light and atmosphere that oil paints often struggle to replicate. In the 1960s, his approach shifted toward heavily painted, encrusted surfaces paired with a muted palette. This period demonstrated a capacity for abstraction, particularly in his atmospheric views of beaches.
His compositions frequently utilize the perspective of glimpsed views. By framing scenes through open doors and windows, he creates a sense of looking into a private or quiet space. This structural choice contributes to the quiet profundity found in his work. He avoids the grandiosity of wide-open vistas, opting instead for intimate, domestic, or localized subjects that carry significant weight through their stillness.
Tindle’s output reveals a career focused on the weight of the ordinary. His early precision is evident in a 1954 still life of a broken egg shell, a work that established his ability to find complexity in discarded, mundane objects. This focus on the domestic and the singular continues in pieces like Saucepan and Milk Bottle, where the subject matter remains grounded in the quietude of everyday life. He does not seek the grand or the dramatic, preferring instead the subtle tension found in a domestic tableau.
His portraiture and landscapes offer a different kind of scrutiny. He captured the former Principal Justin Gosling in a portrait that emphasizes dignity through restraint. In his landscape work, such as Night Walk, 1984, he uses light to define space rather than to create spectacle. These works demonstrate a consistent interest in how light interacts with specific, often solitary, environments. His subjects are rarely crowded; they are usually singular moments or quiet corners of the world.
Dr Thomas Bewley, CBE, President of the Royal College of Psychiatrists (1984–1987)
From Room to Room, Self Portrait
Justin Gosling, Principal (1982–1996)
Shell Site, South Bank, London
Tindle’s presence in public collections confirms his standing within British art. His work is held in the Ferens Art Gallery in Hull and at The Hepworth Wakefield. These institutions provide a permanent record of his technical precision and his ability to render light through the egg tempera medium. To see his paintings in these settings is to witness the physical reality of his meticulous layering process.
His connection to Oxford remains visible through specific institutional placements. Several of his paintings are located in the Senior Common Room of St Edmund Hall. Additionally, his portrait of Justin Gosling hangs in the Old Dining Hall of the same college. These works exist in spaces that reflect the academic and social environments he has long been associated with.
Justin Gosling, Principal (1982–1996)
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High Room — David Tindle
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David Tindle作「High Room」は、Neutralsなカラーパレットを使用しています。この配色は、作品全体の色彩的特徴を象徴しています。
David Tindle作「High Room」はNeutralsのパレットを使用しており、Celadon (#b9bdb4)が基調となっています。
「High Room」の原画のサイズは60 x 80 cmです。原画の寸法は、複製画のサイズをお選びいただく際の参考としてお役立ていただけます。