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カタログ・ドシエ: Thomas Evans

Thomas Evansをリネンに描かれた手描きの油彩画で注文する

氏名 クラス 日付

William Bell Scott, Thomas Evans (1840), Treasurer's House, York. パブリックドメイン 動きのある光の下で、このキャンバスをご覧ください。描線、ニス越しに透ける真の色、そして剥き出しの顔料を。

事実関係

作家
William Bell Scott artsdot.com/ja/artists/william-bell-scott-1/
制作年
1811 – 1890
彩色済み
1840
原寸大
49.5 x 42.0cm
開催地
Treasurer's House, York artsdot.com/ja/museums/treasurer-s-house-york/

文脈において

Thomas Evans — William Bell Scott

サイズ感について

原寸は 50 × 42 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。

制作時期はいつですか?

  1. 1810
  2. 1820
  3. 1830
  4. 1840
  5. 1850
  6. 1860
  7. 1870
  8. 1880
  9. 1890

上の行:年。下の行:各期間の開始時と終了時の年齢 — 出生時は0、没時は 79。

作家が 29 歳の時に制作。 そのアーティストは79まで生きました。 0 of the 16 dated works by this artist in our catalogue came earlier.

背景色:William Bell Scottの生涯 (1811–1890) ▲ 本作品、1840 年代ごとに並ぶ、すべての制作年入り作品

初期作品:1857年まで 主な活動期間:1857–1864 晩年の作品:1864年以降

これら3つの区分により、本カタログに日付が記されている作品群は、第1四半期、中間期、そして第4四半期へと分けられます。これらはアーティストの全作品を網羅したものではありません。記録の空白期間が、単なる活動休止期間として現れている場合もあります。 アーティストの歩みとともに刻まれた、その年月

似ている作品

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。

こちらの作品とあわせてご覧いただける他の作品:artsdot.com/ja/art/similar/thomas-evans-by-william-bell-scott/

カラーパレット

画像から抽出したカラーパレット

    メインカラー

    Walnut #694e2c

    保存済みパレット

    • #694E2C
    • #B19A71
    • #0E0D09
    • #D6D0B0

    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

    配色
    Earthy 作品の中で主要な色調。
    主な色名
    Walnut
    彩度
    Monochromatic 単一の落ち着いた色調から、多彩で鮮やかな色彩まで、色の彩度やバリエーションの豊かさ。
    コントラスト
    Statement 作品全体における、色の明度と彩度の差異の度合い。
    調和
    Balanced Harmony 対照的な色合いから完全に調和したものまで、色彩がいかに美しく響き合っているか。
    明るさ
    Deep_shadow 深い影から明るいハイライトまで、作品全体の明暗の度合い。
    彩度
    Muted 限りなくグレーに近い色合いから、鮮やかな色彩まで、その純度と強さが際立ちます。

    アーティストと美術館

    作家

    William Bell Scott

    生誕地 Edinburgh, United Kingdom

    A Life of Art and Letters

    William Bell Scott was a Scottish artist, painter, writer, poet, graphic artist, art historian, exlibrist, and print collector. Born in Edinburgh, United Kingdom, he was the son of the engraver Robert Scott and the brother of the painter David Scott. His artistic journey took him from his upbringing in Edinburgh to London, and later to Newcastle upon Tyne, where he served as the principal of the government School of Art from 1843 to 1864. During his tenure in Newcastle, he expanded his repertoire of landscapes and history painting to include industrial subjects, becoming one of the first British artists to extensively depict the processes of the Industrial Revolution.

    Beyond his visual work, Scott was a prolific writer and poet. His literary contributions included:

    Artistic Commissions and Portraits

    Scott's decorative work is notably represented in historical cycles. For Wallington Hall in Northumberland, he produced eight large pictures illustrating Northumbrian history, featuring life-size figures, alongside eighteen pictures on The Ballad of Chevy Chase. He also executed a historical cycle for Penkill Castle in Ayrshire, Scotland, illustrating James I's poem The Kingis Quair.

    While he did not focus heavily on portraiture, his striking portrait of the poet Algernon Charles Swinburne remains an iconic image. His etchings were primarily designed to serve as illustrations for his books. In his later years, after resigning from his appointment under the Science and Art Department in 1885, he focused on his writing until his death in South Ayrshire.

    美術館・博物館

    Treasurer's House, York

    展示場所: United Kingdom

    The History and Origins of the House

    Treasurer's House, York is a Grade I listed historic house located in Minster Yard, directly to the north of York Minster. The site's history is deeply connected to the ecclesiastical administration of the Minster. The office of Treasurer was established by Archbishop of York Thomas of Bayeux, and the first Treasurer for York Minster was appointed in 1091. For several centuries, the building functioned as a grand residence for the Treasurer, providing a space to entertain important guests. This specific function continued until 1547, when the Reformation of the English Church brought the office of Treasurer to an end.

    The physical foundations of the house reflect the long occupation of the site. The structure was built directly over one of the main Roman roads that led out of Roman York to the North. During major structural changes carried out by Frank Green, four Roman column bases were uncovered. One of these remains in-situ in the cellar. The house is currently owned and maintained by the National Trust.

    The Restoration by Frank Green

    In 1897, Frank Green, a wealthy local industrialist, began the process of acquiring the various parts of the house. He purchased each section between 1897 and 1898, aiming to unify the subdivided properties into a single residence. To achieve this, he appointed Temple Moore to oversee the restoration. The architectural work involved removing numerous earlier additions to return the structure to a more cohesive state. This extensive project was largely completed by 1900.

    Green intended the house to function as a setting for his personal collection of antique furniture, paintings, and objets d’art. He was an exacting man who maintained the house with strict attention to order and tidiness. The resulting interior reflects his specific vision for a grand town house. In 1930, Green donated both the house and his entire collection to the National Trust, ensuring the property and its contents remained intact.

    The Architecture and Interior Rooms

    Located in Minster Yard directly to the north of York Minster, the house possesses a layered architectural character. The structure features a symmetrical front that was added during the early 17th century. While the building's origins reach back to medieval times, the current configuration reflects the extensive transformations undertaken at the end of the 19th century. By 1900, the property had been converted into an elaborately decorated town house.

    The interior is composed of thirteen period rooms. These spaces represent a variety of different styles and eras, creating a specific domestic arrangement. The layout reflects the transition from a subdivided set of tenements back into a unified residence. The arrangement of these rooms was intended to display a curated collection of antique furniture and objects.

    Mrs Halliwell as an Old Woman, 1840 - William Bell Scott

    Thomas Evans, 1840 - William Bell Scott

    'Frisk' a Skye Terrier, 1875 - Richard S. Moseley

    Lady Charlotte Harley - Richard Westall

    Landscape with a Lake, Cattle and a Figure on Horseback, 1801 - Charles Towne

    Mr Halliwell on Horseback, 1794 - Charles Towne

    Exhibitions and Visiting Information

    The house is open to the public for an admission fee. Visitors may access the garden and the café without charge. During certain periods, the site hosts specific displays to examine the history of the property. The exhibition titled 'Demolition and Restoration' opened on May 6 and remains available until the end of the year.

    Daily opening hours are from 11am to 4.30pm. The house is located in Minster Yard, directly to the north of York Minster. Access to the interior is managed through the National Trust. The site remains open to the public throughout the year, though specific tour availability may vary by season.

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    この作品を引用する

    MLA
    Scott, William Bell. Thomas Evans. 1840, Treasurer's House, York. https://artsdot.com/ja/art/thomas-evans-by-william-bell-scott/
    APA
    Scott, William Bell (1840). Thomas Evans [Painting]. Treasurer's House, York. https://artsdot.com/ja/art/thomas-evans-by-william-bell-scott/
    Chicago
    William Bell Scott. Thomas Evans. 1840. Treasurer's House, York. https://artsdot.com/ja/art/thomas-evans-by-william-bell-scott/
    Harvard
    Scott, William Bell (1840) Thomas Evans. Treasurer's House, York. Available at: https://artsdot.com/ja/art/thomas-evans-by-william-bell-scott/

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    Thomas Evans — William Bell Scott

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    ご自身の言葉で回答してください。正解はありません。大切なのは、その答えを説明できるかどうかです。

    1. まず最初に目に飛び込んでくるのはどこですか?また、それはなぜでしょうか?
    2. どのような色や形がその情緒を作り出しているでしょうか。そして、それはどのような情緒なのでしょうか。
    3. いくつの顔を見つけることができますか? ____ (当カタログでは 1 と数えています —— あなたもそう思いますか?)
    4. このガイドの前述にある Una and the Lion (from Spenser's 'The Faerie Queene') (1860) を改めて振り返ってみましょう。この作品と共通する点を2つ、そして異なる点を1つ挙げてください。
    5. William Bell Scott は、この作品の制作当時 29 歳でした。作品のどのような点に、その時期のアーティストらしい特徴が見て取れるでしょうか。

    回答内容

    この作品について短い文章を書いてください。本ガイドの前半部分に記載されている事実と、上記での回答内容を活用してください。

    Q&A

    William Bell Scott作「Thomas Evans」の色調は、鮮やかですか、それとも落ち着いていますか?

    「Thomas Evans」の色彩は、彩度がMutedです。

    「Thomas Evans」は、明暗のコントラストが強い作品ですか?

    William Bell Scott作「Thomas Evans」は、明部と暗部の間にStatementなコントラストを描き出しています。

    William Bell Scott作「Thomas Evans」のデジタルデータを入手するには、どうすればよいですか?

    William Bell Scott作「Thomas Evans」のデジタルファイルをご希望の場合は、高解像度デジタル画像ページより高解像度デジタル画像のダウンロードをご注文ください。