Veiledning for studentkunst
Opphavsrett Dette verket er i det frie domene. Elliott Daingerfield døde i 1932; opphavsretten varer 70 år etter kunstnerens død, så den utløp i 2002.
I sammenheng med
Moonlight — Elliott Daingerfield
Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 73 ved død.
Skyggelagt: livsløpet til Elliott Daingerfield (1859–1932) hvert daterte maleri, tiår for tiår
Tidlige verk: frem til 1895 Hovedvirksomhetsår: 1895–1914 Senere verk: fra 1914
Disse tre periodene deler verkene i denne katalogen inn i et første kvartal, en midtre halvdel og et siste kvartal. De utgjør ikke kunstnerens komplette produksjon: en tynn periode kan være et hull i dokumentasjonen snarere enn en rolig periode. De samme årene med kunstnerens liv lagt langs dem
Dette opptaket har ikke et nøyaktig årstall registrert — basert på kunstnerens levetid og verkets stil, hvilket tiår vil du gjette på?
Velg ett av verkene ovenfor: nevn to ting det har til felles med dette, og én ting som er annerledes.
Flere verk som kan stå ved siden av dette: artsdot.com/no/art/similar/elliott-daingerfield-moonlight-AQRM23-en/
Målt ut fra bilde
Hovedfarge
Espresso #5d412b
Lagret palett
Disse fargene i kunstnerens komplette palett Finn andre malerier etter farge
De ti ledende landene
Finn de tre mørkeste landene på kartet. Ligger museet som oppbevarer dette maleriet i noen av dem? Skriv ned én grunn til at folk langt unna kan ønske å se det.
Sammen utgjør disse verkene 100.0% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 43 verk av denne kunstneren, hvorav 12 ble sett på minst én gang. Dette maleriet har ennå ikke blitt vist i denne perioden — det avslutter listen uten en rangering. Det samme gjelder, måned for måned
Søylene måler oppmerksomhet, ikke kvalitet. Velg verket øverst og dette: nevn én ting som kan gjøre et maleri berømt utover hvor godt det er malt.
Kunstner og museum
Elliott Daingerfield stands as one of North Carolina’s most celebrated and evocative artists, a painter whose work bridged the gap between the tangible beauty of the American landscape and the profound depths of spiritual symbolism. Born in 1859 in Harpers Ferry, West Virginia, to a Confederate officer, Daingerfield’s early life was shaped by the rugged landscapes of his youth in Fayetteville, North Carolina. This deep-seated connection to the natural world would later become the foundation of his artistic language, providing him with an endless reservoir of inspiration for his sweeping vistas and luminous compositions.
His journey into the heart of the American art establishment began at the age of twenty-one when he moved to New York City. It was here that Daingerfield’s formal training took root under the guidance of Walter Satterlee, an apprenticeship that not only introduced him to the delicate nuances of still life painting but also placed him within a vibrant circle of influential masters. The shadows and light of his early studies were profoundly transformed by his encounters with titans such as George Inness and Albert Pinkham Ryder. These luminaries, along with the burgeoning influence of European Symbolism which he encountered during his travels abroad around 1897, guided him toward a visionary style. His work began to transcend mere representation, moving toward an expressive mode where color palettes became more luminous and brushwork more meticulous, designed to convey unseen spiritual truths.
As his career matured, Daingerfield achieved significant recognition within the prestigious National Academy of Design, ascending from an associate member in 1902 to full membership by 1906. This era marked his emergence as a master of religious and monumental art. His ability to weave narrative and emotion into large-scale works was perhaps most brilliantly demonstrated in his impactful commissions for sacred spaces, most notably the monumental mural adorning Saint Mary the Virgin Church in New York City. In these works, Daingerfield utilized a dramatic interplay of light and shadow to tell stories of faith, much like his more intimate pieces such as Monk Smelling a Bottle of Wine, which explores the delicate tension between indulgence and devotion.
Beyond the confines of religious iconography, Daingerfield’s fascination with the grandeur of the American wilderness led him to remarkable heights. His travels to the American West in 1911 and 1913 resulted in a series of breathtaking paintings of the Grand Canyon, where he captured the geological majesty of the landscape through a Romantic lens. Whether depicting a moonlit forest in A Fantasy or the melancholic beauty of a young girl in Shepherdess, his oeuvre is characterized by an impasto texture and an evocative mood that invites the viewer into a dreamlike state.
Daingerfield’s contribution to American art extends beyond the canvas; he was also a dedicated scholar and biographer, documenting the lives of his contemporaries like George Inness and Ralph Albert Blakelock. His life, marked by both personal tragedy and immense professional triumph, concluded in Manhattan in 1932. Today, his legacy remains etched in the landscapes of North Carolina and the halls of museums worldwide, reminding us of a time when art served as a profound window into the soul of nature.
artsdot.com/no/art/download/elliott-daingerfield-moonlight-AQRM23-en/
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Moonlight — Elliott Daingerfield
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Fargene i "Moonlight" har en Dark luminans.
"Moonlight" av Elliott Daingerfield har et Portrait-format. Formatet beskriver komposisjonens proporsjoner.
"Moonlight" har en tendens til en Golden Yellow Range tone.