Papel

Guia de Obras de Estudantes

Daffodils

Nome Turma Data

michele elizabeth field, Daffodils (2006). Reproduzido para fins de referência; todos os direitos reservados ao detentor dos direitos.

Informações principais

Artista
michele elizabeth field artsdot.com/pt/artists/michele-elizabeth-field/
Datas do artista
1953 – 2014
Pintura
2006
Dimensões originais
31 x 101 cm
Movimento
Contemporary Realism Living artists painting the real world with traditional skill, often from photographs as well as from life.

No contexto

Daffodils — michele elizabeth field

Qual é o tamanho?

As dimensões originais são 31 × 101 cm (altura × largura), representadas aqui ao lado de um adulto de altura média.

Ano de criação

  1. 1950
  2. 1960
  3. 1970
  4. 1980
  5. 1990
  6. 2000
  7. 2010

Sombreado: a trajetória de michele elizabeth field (1953–2014) ▲ esta obra, 2006

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/michele-elizabeth-field-daffodils-AQUPXT-en/

Paleta de cores

Medido a partir da imagem

    Cor principal

    Black #131315

    Paleta catalogada

    • #131315
    • #E0C74F
    • #D3B62A
    • #3F4C33
    Paleta
    Dark A família de cores predominante na imagem.
    Nome da cor principal
    Black
    Intensidade
    Vivid O quão saturadas e variadas são as cores, desde um único tom suave até muitos tons vibrantes.
    Contraste
    Statement O grau de variação da luminosidade e saturação das cores ao longo da imagem.
    Harmonia
    Unified Palette A forma como as cores interagem entre si, desde o contraste marcante até a total harmonia.
    Brilho
    Shadow O nível de luminosidade ou escuridão da imagem como um todo, desde as sombras profundas até os brilhos intensos.
    Saturação
    Clear Color Presence Quão puras e intensas são as cores, do quase cinza ao totalmente vívido.

    Artista e museu

    Artista

    michele elizabeth field

    A Life Painted in Light and Water

    Michele Elizabeth Field, born Michele Wright, was an artist whose soul seemed inextricably linked to the tranquil rhythms of the English landscape. Born on June 10, 1953, in Solihull, West Midlands, her early years were shaped by a profound fascination with the natural world. This innate curiosity found its most potent expression through the serene waterways and rolling vistas of Oxford—a region that would become the heartbeat of her creative vision. Her palette was often a direct reflection of this environment, mirroring the soft, luminous hues of the Thames and the verdant, undulating textures of the Chiltern Hills. Through her work, one does not merely see a landscape; one feels the atmospheric weight of a misty morning or the warmth of sunlight filtering through a summer canopy.

    Her formal journey into the mastery of medium began at the Plymouth College of Art, where she meticulously honed her skills in both watercolor and oil painting. While her technical foundation was rigorous, it was her relocation to Oxford in 1980 that truly catalyzed her artistic evolution. Immersed in the city’s rich artistic heritage, Field established herself as a freelance artist with an unwavering commitment to emotional resonance. She possessed a rare ability to capture the essence of a scene, moving beyond mere representation to achieve a sense of profound stillness and accuracy that captivated both casual observers and seasoned collectors alike.

    The Language of Flowers and Form

    As her career progressed into the early 2000s, Field’s expressive range underwent a beautiful transformation. While she remained a master of the delicate, translucent washes characteristic of watercolor, she began to embrace the bold, tactile possibilities of acrylics and oils. This experimentation allowed her to explore deeper textures and more vibrant, saturated colors, adding a new dimension of physical presence to her canvases. Her botanical works, in particular, emerged as some of her most celebrated achievements. In paintings such as White Lilies and Yellow Lilies, she rendered floral subjects with a precision that bordered on the meditative.

    Her floral compositions—frequently featuring anemones, poppies, and daisies—were far more than simple botanical studies. They served as poignant meditations on the ephemeral nature of beauty and the cyclical rhythms of life. In works like Daisies and Orange Flowers, she utilized a stylized, almost folk-art charm to evoke joy and rustic serenity, whereas her more abstract endeavors, such as Purple and Gold Abstract, showcased her ability to manipulate impasto textures and swirling forms to convey pure emotion. This versatility ensured that her work could speak to the viewer through both the literal beauty of nature and the abstract language of color.

    Legacy of Empathy and Observation

    Beyond the landscapes and botanicals, Field’s artistry was defined by a deep-seated empathy, a quality most evident in her highly sought-after pet portraits. Tasked with capturing the likenesses of beloved dogs, she approached each commission with an exceptional level of observation, seeking to translate the unique character and spirit of each animal onto the canvas. This ability to capture the "essence" of a subject became a hallmark of her professional reputation, making her work deeply personal to those who owned it.

    A dedicated member of the Guild of Waterway Artists, Field was not only a creator but also a vital part of the artistic community. She was known for her professionalism and her skill as a promoter, often organizing exhibitions at venues such as the John Radcliffe Hospital and participating in major events like the Braunston Boat Show. Her presence was so impactful that her paintings were frequently featured on official Christmas cards, weaving her vision into the seasonal traditions of the region. Though her life was tragically cut short in 2014, her legacy endures through a body of work that remains vibrantly alive—a testament to a life lived with an open heart and an eye for the extraordinary beauty found in the everyday.

    Saiba mais

    Disponível online

    QR code que direciona para a página de download de Daffodils

    artsdot.com/pt/art/download/michele-elizabeth-field-daffodils-AQUPXT-en/

    Como citar esta obra

    MLA
    field, michele elizabeth. Daffodils. 2006, https://artsdot.com/pt/art/michele-elizabeth-field-daffodils-AQUPXT-en/
    APA
    field, michele elizabeth (2006). Daffodils [Painting]. https://artsdot.com/pt/art/michele-elizabeth-field-daffodils-AQUPXT-en/
    Chicago
    michele elizabeth field. Daffodils. 2006. https://artsdot.com/pt/art/michele-elizabeth-field-daffodils-AQUPXT-en/
    Harvard
    field, michele elizabeth (2006) Daffodils. Available at: https://artsdot.com/pt/art/michele-elizabeth-field-daffodils-AQUPXT-en/

    Observe de perto

    Daffodils — michele elizabeth field

    Observe 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. O nosso catálogo classifica esta obra sob: floral art, daffodils, yellow blooms. Concorda? O que acrescentaria ou removeria?
    4. Relembre Poppies, Buttercups and Daisies (2007), apresentado anteriormente neste guia. Identifique dois elementos que esta obra compartilha com a anterior e um que seja diferente.
    5. Contemporary Realism: Living artists painting the real world with traditional skill, often from photographs as well as from life. Onde você pode observar isso nesta obra?

    Sua resposta

    Escreva um pequeno parágrafo sobre esta obra de arte. Utilize os factos das partes anteriores deste guia e as suas respostas acima.