Joseph Wright was born and raised in Derby. After becoming an accomplished painter, he eventually took the name of Wright of Derby when he moved to Liverpool. He took liking to the nickname to set himself apart from Richard Wright, an already established painter in Liverpool. Although he became known for the work he did in Liverpool, his realistic paintings were greatly influenced by his humble home in Derby. Though he was well known in Derby for being a talented portraitist, his works in Liverpool
Portrait of Queen Charlotte Thomas Gainsborough Medium: oil on canvas Date: 1781 Location: Royal Collection, London Catalog entry: Thomas Gainsborough was the leading landscape and painter and one of the most important portraitists of the 18th-Century Britain. His style is characterized by a sense of immediacy, resulting from diffused light and fluid brushwork. “Gainsborough’s overall, fluid brushwork, in combination with his unique layering of translucent colors, resulted in complete compositional
1906. Richard and Joseph Hunt completed their masterpiece (Museum Planet). The building of the 69th Regiment Armory came to a culmination. “Earlier armories had been designed in medieval styles, making use of fortress imagery.” However, the 69th Regiment Armory was the first armory that rejected the medieval fortress prototype (Murray). The 69th Regiment Armory design was classically influenced: the influence of the late Tudor and Beaux Art styles. The building also includes minute characteristics
Art and Science Art and science have always had a close relationship. We see art influence science as with books and movies inspiring technological advancement. We also see science influence art in ways such as how aerodynamics informs the design of cars and airplanes. During the Renaissance and on, we see mankind making this connection and building from it. This changed the world, and art. The Renaissance was a time ripe with scientific study and discovery. Artists of the time did much of the
The Attempts to Present English Art “Britain had one century of painting.” Elie Faure’s statement summarizes best what critics, art researchers and collectors haven’t had the space, the heart or the inspiration to say in their restless attempts to present English Art. WHY? To answer this question we must take into account more than history and documents, we must evaluate the essence, the soul of the creator, of the English man. Andrew Crawley describes in his book (“England”), the English