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Guia de Obras de Estudantes

Building Flying Boats

Nome Turma Data

flora lion, Building Flying Boats (1918). Reproduzido para fins de referência; todos os direitos reservados ao detentor dos direitos.

Informações principais

Artista
flora lion artsdot.com/pt/artists/flora-lion/
Datas do artista
1878 – 1958
Pintura
1918
Dimensões originais
108 x 184 cm

No contexto

Building Flying Boats — flora lion

Dimensões

As dimensões originais são 108 × 184 cm (altura × largura), representadas aqui ao lado de um adulto de altura média.

Ano de criação

  1. 1870
  2. 1880
  3. 1890
  4. 1900
  5. 1910
  6. 1920
  7. 1930
  8. 1940
  9. 1950

Sombreado: a trajetória de flora lion (1878–1958) ▲ esta obra, 1918

Obras comparáveis

Escolha uma obra acima: mencione duas semelhanças entre ela e esta, e uma diferença.

Mais obras para acompanhar esta: artsdot.com/pt/art/similar/flora-lion-building-flying-boats-AQSPMP-en/

Paleta de cores

Medido a partir da imagem

    Cor principal

    Gray #988d86

    Paleta catalogada

    • #988D86
    • #3F3832
    • #15140D
    • #665B4E
    Paleta
    Earthy A família de cores predominante na imagem.
    Nome da cor principal
    Gray
    Intensidade
    Monochromatic O quão saturadas e variadas são as cores, desde um único tom suave até muitos tons vibrantes.
    Contraste
    Balanced O grau de variação da luminosidade e saturação das cores ao longo da imagem.
    Harmonia
    Balanced Harmony A forma como as cores interagem entre si, desde o contraste marcante até a total harmonia.
    Brilho
    Deep_shadow O nível de luminosidade ou escuridão da imagem como um todo, desde as sombras profundas até os brilhos intensos.
    Saturação
    Muted Quão puras e intensas são as cores, do quase cinza ao totalmente vívido.

    Artista e museu

    Artista

    flora lion

    A Legacy of Light and Line: The Life of Flora Lion

    In the grand tapestry of early twentieth-century British art, few threads are as delicately woven yet structurally resilient as those left by Flora Marguerite Lion. Born in London in 1878 to a heritage that bridged the English and French worlds, Lion possessed an artistic sensibility shaped by the cosmopolitan elegance of her Anglo-Franco Jewish roots. Her lineage connected her to a profound cultural tradition, being related to the esteemed Solomon family, a dynasty of celebrated artists. This early immersion in a world where creativity was a primary language provided the foundation for a career that would eventually command respect at the highest levels of the Royal Academy and beyond.

    Lion’s journey through the corridors of artistic excellence began with rigorous discipline. Her training was a masterclass in the classical traditions of her era, moving from the St. John’s Wood Art School in 1894 to the prestigious Royal Academy Schools between 1895 and 1899. It was during these formative years that she studied under the legendary John Singer Sargent, an influence that undoubtedly contributed to her ability to capture the ephemeral qualities of light and the dignified essence of her subjects. Seeking to expand her horizons beyond the British Isles, she traveled to Paris to attend the Académie Julian at the turn of the century, immersing herself in the vibrant, experimental atmosphere of the Belle Époque. This duality of training—the structured realism of London and the atmospheric impressionism of Paris—became the hallmark of her mature style.

    The Art of the Human Spirit

    As her career flourished after 1900, Lion became a sought-after portraitist, known for her ability to render society figures with both meticulous accuracy and a profound psychological depth. Her canvases were never merely records of appearance; they were studies in character. Whether depicting the quiet elegance of a socialite or the weary strength of a laborer, her brushwork possessed a unique texture that balanced realism with an impressionistic softness. This versatility allowed her to move seamlessly between the intimate scale of private commissions and the grander narratives of public history.

    Perhaps her most historically significant contribution arose from the crucible of the First World War. Tasked by the Ministry of Information to document the British home front, Lion stepped into spaces rarely visited by female artists of her standing. She ventured into the industrial heartlands of Leeds and Bradford, capturing the grit and determination of the wartime era. Her depictions of factory workers—specifically her poignant scenes of women in munitions canteens—offered a rare, dignified glimpse into the changing social fabric of Britain. In these works, she moved beyond the traditional boundaries of portraiture to become a chronicler of national resilience, portraying the confidence of female workers with a sensitivity that contrasted beautifully with the more somber depictions of their male counterparts.

    An Enduring Impression

    The life of Flora Lion was one of remarkable professional autonomy. In an era when many women artists were overshadowed by their spouses, Lion maintained a distinct and successful identity. Even after her marriage to the journalist and artist Ralph Amato in 1915, she remained the preeminent creative force in their partnership, with Amato often serving as her dedicated secretary and press officer. This rare level of professional agency allowed her to navigate the complexities of the art world with a singular vision.

    By the time of her passing in London in 1958, Lion had left behind an oeuvre that spanned landscapes, murals, and portraits, each piece serving as a window into the shifting aesthetics of the Victorian and Edwardian eras. Her work remains a vital touchstone for those studying the evolution of British portraiture, reminding us of a period when art was used not only to celebrate individual beauty but to document the very pulse of a nation in transition. Through her mastery of light and her empathetic eye, Flora Lion ensured that the faces and stories of her time would never fade into obscurity.

    Saiba mais

    • O artista flora lion artsdot.com/pt/artists/flora-lion/
    • Obras semelhantes Mais obras para comparar artsdot.com/pt/art/similar/flora-lion-building-flying-boats-AQSPMP-en/

    Disponível online

    QR code que direciona para a página de download de Building Flying Boats

    artsdot.com/pt/art/download/flora-lion-building-flying-boats-AQSPMP-en/

    Como citar esta obra

    MLA
    lion, flora. Building Flying Boats. 1918, https://artsdot.com/pt/art/flora-lion-building-flying-boats-AQSPMP-en/
    APA
    lion, flora (1918). Building Flying Boats [Painting]. https://artsdot.com/pt/art/flora-lion-building-flying-boats-AQSPMP-en/
    Chicago
    flora lion. Building Flying Boats. 1918. https://artsdot.com/pt/art/flora-lion-building-flying-boats-AQSPMP-en/
    Harvard
    lion, flora (1918) Building Flying Boats. Available at: https://artsdot.com/pt/art/flora-lion-building-flying-boats-AQSPMP-en/

    Observe de perto

    Building Flying Boats — flora lion

    Olhar de perto

    Responda com suas próprias palavras. Não existem respostas erradas aqui — apenas respostas que você possa explicar.

    1. O que chama a sua atenção primeiro e por quê?
    2. Quais cores ou formas criam a atmosfera — e que atmosfera é essa?
    3. Relembre Mathilde Verne (1865–1936) (1925), apresentado anteriormente neste guia. Identifique dois elementos que esta obra compartilha com a anterior e um que seja diferente.
    4. flora lion tinha cerca de 40 anos quando esta obra foi feita. O que nela parece ser o trabalho de um artista nessa fase?
    5. O que o artista pode ter querido que você sentisse?

    Sua resposta

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