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A canvas by a Ukrainian artist, which depicts Fuji, the highest mountain in Japan with a height of 3,776 meters, which is an active stratovolcano and a symbol of beauty and spirituality. Located about 100 kilometers southwest of Tokyo on the island of Honshu, it has inspired countless artists and poets throughout history. In 2013, it was recognized as a UNESCO World Heritage Site. Also, Fuji is revered as a place of worship in Shintoism and Buddhism. It is said that it is protected by the female deity Konohanasakuya-hime.
This peak has often become the central object of many works, not only Japanese. All because of its greatness and monumentality, from which emanates holiness and a certain mysticism. However, this picture depicts it from a completely different side. The author used pure and bright colors, so we see a sunny day, the vast blue of the sky and a peak that reaches up to it. And the trees, which are in the lower part of the picture, only emphasize the greatness of Fuji.
To speak about the outstanding artist, Shevchenko, once again is inappropriate. But to pay attention to his main artistic works is never superfluous. For example, this work was created during his participation in the Orenburg-Aral expedition, where he worked as an artist and recorded the features of the area. The painting depicts a night landscape of the island of Kosaral, located in the northeastern part of the Aral Sea, which was once the fourth largest lake in the world, known for its unique ecosystem and strategic importance. Currently, there is a desert on the site of the sea, and the island itself no longer exists.
The painting is done in watercolor on paper, which allowed for the creation of smooth and delicate transitions. The author uses pastel and restrained colors to convey the quiet atmosphere of this place at sunset. This canvas is an ode to nature. Calm, somewhat melancholic. And details, such as a dog, greenery, and boats, only complement the overall composition, without adding unnecessary noise.
A painting created in collaboration by three artists, where each was responsible for his own part: Pugin for the architecture, Rowlandson for the characters, and Bluck for the aquatint. This is not the first joint work of these three authors, but one of the well-known ones. The canvas belonged to the series "Microcosm of London," which depicted contemporary London.
Bartholomew Fair was one of London's most prominent summer fairs, founded to support the Priory of St. Bartholomew. Its history begins in 1133, when King Henry I granted a charter to finance the priory. Every year on August 24, the fair was held near Smithfield Market, London. It was not just a market - it was a vibrant combination of trade, entertainment, and celebrations that attracted crowds from all corners. But over time, the fair became increasingly noisy and began to cause problems, including frequent public riots. In 1855, the authorities decided to stop it, closing the page of a tradition that had lasted for over 700 years.
The work combines aquatint and etching, and the thick application of color conveys the intensity of the event and adds to its noisiness. The architecture is depicted less assertively, but also in detail, and serves as a kind of background for the noise in the foreground. Although it may seem that there is a certain imbalance between cold and warm tones in the color scheme, the canvas as a whole has a finished look. And, of course, it makes you want to examine its details for a long time.
This engraving was made around 1781 - it is an aquatint over an etching, created from sketches by Louis-Jean Desprez, with figures engraved by Edouard and Louis-Charles Gauthier-Dagoty and Jean Duplessis-Bertaux. At the center of the composition is the temple of the same name, dedicated to the goddess Isis, which was built way back in 1764. It survived two destructions: during an earthquake in 1796 and the eruption of Vesuvius in 1779. And it was meticulously rebuilt twice, due to its importance both for the locals and for history.
The work is truly captivating: extraordinary detail, fine color transitions despite the monochrome palette, the dynamics of the plot, and a large number of characters. Every detail attracts attention: from the cloudy sky to each individual person. The etching adds precision to this picture, and the aquatint adds smoothness and naturalness. So the canvas harmoniously combines architectural documentary and the romanticism of the plot.
An interesting fact: the illustration was created for the publication "A Picturesque Journey to Naples and Sicily," which was later published in Paris in as many as 5 volumes.
A canvas by the American-British engraver John Hill, executed in the technique of aquatint and etching. It was these techniques that allowed for a smooth and easy transmission of the atmosphere of a quiet day on the banks of the Hudson River, but with good detail. And it allowed it to become one of the most famous works in a series of 20 aquatints illustrating this coast and its surroundings. The author of the reference was William Guy Wall - an Irish artist, a fan of watercolor and a bright representative of US landscaping.
The canvas has a deep perspective and a large number of details, but its atmosphere is calming. Morning or evening - we can only guess. However, the color scheme reveals the author's intention to create a canvas that will demonstrate the beauty of this area as it is, without unnecessary noise. After all, both artists were ardent popularizers of the idea of the beauty of the USA and its fascinating places.
A work by three artists who often worked on works as a team. Each was responsible for a certain stage: Pugin for the architecture, Rowlandson for the characters, and Bluck for the aquatint. But several techniques were combined here: etching, oil lines, aquatint, and hand-coloring. Such a set adds extraordinary detail and dynamics to the canvas. The painting belonged to the series "Microcosm of London," which depicted the life of contemporary London.
It is difficult not to notice the work with color. The artists masterfully conveyed the loud atmosphere of a full hall and the bright action taking place on the stage. All thanks to somewhat muted tones that convey the corresponding subdued light. When all the attention is on the stage, and the rest does not matter. And it seems that you can even hear the whispers of the audience from the picture.
The painting depicts the second theater on the site of the modern Royal Opera House, which was built in 1732, restored in 1792 after a fire, burned down again on September 20, 1792, and a new one was built, designed by Robert Smirke, the following year.
A work by an English artist, priest, representative of the Norfolk school, known for his accurate watercolor and landscape studies. In 1840–1842, he traveled through the Middle East - Egypt, the Holy Land, and the Lycian ruins in modern Turkey. So we can assume that the canvas was painted approximately in those years. At the center of the composition is Termessos - an ancient Greek city on Mount Güllük (near modern Antalya), composed of ruins.
Little is known about the painting itself. The author was inspired by the East, like many of his contemporaries, and was fascinated by its mysticism and charm. And the watercolor he used in this work allows him to honestly convey the atmosphere of those places - quiet and somewhat mysterious. A rather limited palette, consisting of pastel, calm colors, also plays in favor of this atmosphere.
A work by an English artist, priest, representative of the Norfolk school, known for his accurate watercolor and landscape studies. It was created during his travels in the East, which inspired many of his contemporaries.
The palette is characteristic of his works of that period: warm, almost monochrome. And a combination of materials helped the author to convey the atmosphere of the mysterious East: watercolor, gouache, and graphite.
In the center of the composition is the city of Nablus, near the Jordan River. The artist was a master of perspective and conveying the volume of space, and this work is no exception. Several planes, smooth transitions, a play with light and shadow - everything creates the impression of a quiet evening, where everyone goes about their business, against the backdrop of architectural grandeur and an exceptional landscape.
A work by an English architect and artist, who was known for his watercolor landscapes. Here he also used watercolor and graphite on paper. The pastel gray-brown and blue tones in the work convey the cozy and calm atmosphere of the coast, and the soft strokes add a certain ghostly quality to the landscape.
His works were done in a sketchy and quick manner, and the artistry, combined with architectural precision, allowed him to convey the area both romantically and authentically.
Dr. Edward Wilson was an English zoologist, physician, artist, and member of the "Terra Nova" expedition (1910–13) led by Robert Scott. He was also known for his watercolor landscapes. This one, in particular, was created during a major expedition called the "Winter Journey" to the emperor penguin colony. It is interesting that the temperature in those areas could reach −57 °C in winter.
The canvas is made with white-blue and gray shades of watercolor, which allows to convey the magical and frosty atmosphere of the arctic area. The author used soft strokes for the sea and sky, and clearer ones for the penguins and ice corners, which compositionally draws attention to the main objects. The contemplation of which, in fact, was the purpose of this expedition. And the deep perspective and the presence of other details, such as gulls, add even more dynamism to the canvas.