Vodič za studentske radove
Autorska prava Ovo delo je u javnom vlasništvu. Albert Laessle je preminuo/la 1954. godine; autorska prava traju 70 godina nakon smrti umetnika, pa su prestala 2024.
U kontekstu
First Step — Albert Laessle
Red iznad: godine. Red ispod: koliko je umetnik imao godina na početku i na kraju svakog perioda — 0 u rođenju, 77 u smrti.
Naslikano kada je umetnik imao 32 godina. Umetnik je doživeo 77. 2 od 23 datiranih dela ovog umetnika u našem katalogu nastalo je ranije.
Osenčeno: životni vek umetnika Albert Laessle (1877–1954) ▲ ovo delo, 1909 svaka datirana slika, deceniju po deceniju
Prva dela: do 1912 Glavne radne godine: 1912–1920 Kasna dela: od 1920
Ova tri segmenta dele dela koja u ovom katalogu imaju naveden datum na prvi kvartal, srednju polovinu i poslednji kvartal. Ona ne predstavljaju kompletan umetnikov opus: tanji niz može biti praznina u arhivu pre nego period mirovanja. Iste godine kroz koje se proteže život umetnika
Izaberite jedno od gore navedenih dela: navedite dve stvari koje su mu zajedničke sa ovim i jednu stvar koja ga razlikuje.
Još dela koja se mogu postaviti pored ovog: artsdot.com/sr/art/similar/albert-laessle-first-step-AQTUKF-en/
Izmereno na osnovu slike
Glavna boja
White #fcf6ea
Katalogizovana paleta
Ove boje unutar cele umetnikove palete Pronađite druge slike prema boji
Deset vodećih zemalja
Pronađite tri najtamnije zemlje na mapi. Da li se muzej u kojem se čuva ova slika nalazi u bilo kojoj od njih? Navedite jedan razlog zbog kojeg bi je ljudi sa dalekih mesta mogli posmatrati.
Zajedno, ova dela privlače 100,0% pažnje koju su slike ovog umetnika dobile tokom poslednjih dvanaest meseci. Katalog sadrži 28 dela ovog umetnika, od kojih je 9 pregledano barem jednom. Ova slika još uvek nije pregledana u tom periodu — ona zatvara listu bez rangiranja. Isto važi i za mesec po mesec
Barovi mere pažnju, ne kvalitet. Odaberite rad na vrhu i ovaj: navedite jednu stvar koja bi sliku mogla učiniti slavnom pored toga koliko je dobro naslikana.
Umetnik i muzej
Born in Philadelphia, Pennsylvania, in 1877, Albert Laessle emerged as a distinctive voice within the American art landscape of the late 19th and early 20th centuries. His journey, shaped by familial encouragement alongside parental reservations about an artistic career, led him through rigorous training at institutions like the Spring Garden Institute, Drexel University under Thomas Eakins, and the prestigious Pennsylvania Academy of the Fine Arts where he studied with masters such as Thomas Anshutz and Charles Grafly. A formative period spent in Paris from 1904 to 1907, working alongside Michel Beguine, honed his skills and broadened his artistic perspective, imbuing his later work with a refined sensibility.
Laessle is primarily remembered as an “animalier,” a sculptor specializing in animal subjects. However, to categorize him solely within this genre would be to diminish the breadth of his talent. While celebrated for his remarkably lifelike depictions of creatures—penguins, goats like his beloved "Billy" gracing Rittenhouse Square, and countless others—Laessle’s skill extended beyond mere representation. He possessed an uncanny ability to capture not just the physical form but also the essence, the spirit, of his subjects. This was evident in the controversy surrounding his early plaster sculpture, “Turtle and Crab.” Accusations of casting rather than modeling stemmed from the astonishing realism of the turtle, a testament to Laessle’s meticulous observation and technical prowess. His subsequent creation of a wax version, impossible to cast, definitively silenced his critics and solidified his reputation as a master craftsman.
Laessle's artistic achievements were widely recognized throughout his career. He garnered medals at international expositions in Buenos Aires and San Francisco, demonstrating the global appeal of his work. His talent was further acknowledged through prestigious awards like the Widener Gold Medal in 1918 and the J. Sanford Saltus Award in 1951. Beyond individual accolades, Laessle’s career involved significant collaborative efforts. Notably, he completed Charles Grafly's unfinished masterpiece, the General Galusha Pennypacker Memorial, a monumental project showcasing his ability to seamlessly integrate into and expand upon another artist’s vision. This collaboration highlights not only his technical skill but also his respect for artistic legacy.
Albert Laessle passed away in 1954, leaving behind a body of work that continues to resonate with audiences today. His sculptures reside in esteemed institutions like the Carnegie Institute and the Metropolitan Museum of Art, testament to their enduring artistic merit. Perhaps most poignantly, his bronze "Billy" remains a beloved fixture in Philadelphia's Rittenhouse Square, a playful symbol of childhood joy and a lasting tribute to Laessle’s ability to capture the simple pleasures of life. His influence extends beyond the art world; he taught generations of aspiring sculptors at the Pennsylvania Academy, ensuring that his dedication to craftsmanship and artistic integrity would continue to inspire future artists. Laessle's work stands as a gentle reminder of the beauty found in the natural world and the power of art to evoke emotion and connection.
artsdot.com/sr/art/download/albert-laessle-first-step-AQTUKF-en/
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First Step — Albert Laessle
Odgovorite svojim rečima. Ovde nema netačnih odgovora — postoje samo odgovori koje možete objasniti.
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Što se tiče autorskih prava, "First Step" je u javnom vlasništvu – autorska prava su istekla.
Status autorskih prava za delo "First Step" - u javnom vlasništvu – autorska prava su istekla - proizilazi iz smrti umetnika 1954.
Boje dela „First Step”, Albert Laessle imaju Muted zasićenost. Zasićenost opisuje koliko su boje jarke ili prigušene.