ID: 60906
Advertentie ID: #60906 is toegevoegd aan uw verlanglijst.
Omschrijving
Te koop schitterende print gemaakt door William Ward naar het origineel van George Morland \"The Farmer\'s Stable\", handgekleurd uit 1795. Uitstekende staat, kleuren zijn ook nog schitterend. Lijst is ook in goede conditie. Afmetingen 54cm x 62cm, totaal met lijst 77cm x 65cm.
Vergelijkbare print hangt in het British Museum.
George Morland (1763-1804), landscape and genre painter, was the son of Henry Robert Morland, painter, engraver and art dealer. His father encouraged his early artistic promise, training him through copying old-master drawings. At 14 Morland began an official seven-year apprenticeship with his father, during which he made a particular study of 17th century Dutch landscapes and genre scenes, copying works which his father sold as original works. He also made copies of shipwreck subjects by Cluade-Joseph Vernet (1714-1789) and landscapes and fancy pictures by Thomas Gainsborough (1727-1788). These subjects had a great impact on his mature work. Once freed from his apprenticeship he embarked on the life of drinking and association with low-life characters for which he became notorious. By 1786 he had embarked on a fruitful partnership with the engraver William Ward and John Raphael Smith, also a printmaker and a publisher. Morland became established as a painter of moralizing and domestic genre subjects, most of which were intended for the popular print market. As the DNB notes \"The subjects were usually of a didactic, moralizing nature, portraying contrasting virtues and vices\". Modelled on the work of William Hogarth, they were more in tune with late 18th century ideas of sensibility and were more refined, even sentimental. In 1790 however Morland made the decision to move away from such clear narrative content, painting genre subjects in which there was no narrative or subject matter as such. This seems to have been a response to a shift in taste away from essentially elegant domestic genre, to the picturesque. At the same time he began to modify his style to a less finished, more painterly, even rough handling. He found his new subjects in the village of Paddington where he now lived, opposite an inn frequented by drovers and other country characters. He was hugely prolific and sold most of paintings to dealers. He also continued to work closely with the printmakers and publishers. However, he was no businessman and was often in debt. The last years of his career he was in decline, physically and professionally.
William Ward was married to Maria Morland, the sister of George. He was appointed engraver to the Duke of York in 1803 and to the Prince of Wales soon after. Ward\'s engravings after Morland are some of the most beautiful prints of the period; they combine fine technical skill and inspired artistic imagination to create enduring images that speak of the taste and beauty of the age.
Vergelijkbare print hangt in het British Museum.
George Morland (1763-1804), landscape and genre painter, was the son of Henry Robert Morland, painter, engraver and art dealer. His father encouraged his early artistic promise, training him through copying old-master drawings. At 14 Morland began an official seven-year apprenticeship with his father, during which he made a particular study of 17th century Dutch landscapes and genre scenes, copying works which his father sold as original works. He also made copies of shipwreck subjects by Cluade-Joseph Vernet (1714-1789) and landscapes and fancy pictures by Thomas Gainsborough (1727-1788). These subjects had a great impact on his mature work. Once freed from his apprenticeship he embarked on the life of drinking and association with low-life characters for which he became notorious. By 1786 he had embarked on a fruitful partnership with the engraver William Ward and John Raphael Smith, also a printmaker and a publisher. Morland became established as a painter of moralizing and domestic genre subjects, most of which were intended for the popular print market. As the DNB notes \"The subjects were usually of a didactic, moralizing nature, portraying contrasting virtues and vices\". Modelled on the work of William Hogarth, they were more in tune with late 18th century ideas of sensibility and were more refined, even sentimental. In 1790 however Morland made the decision to move away from such clear narrative content, painting genre subjects in which there was no narrative or subject matter as such. This seems to have been a response to a shift in taste away from essentially elegant domestic genre, to the picturesque. At the same time he began to modify his style to a less finished, more painterly, even rough handling. He found his new subjects in the village of Paddington where he now lived, opposite an inn frequented by drovers and other country characters. He was hugely prolific and sold most of paintings to dealers. He also continued to work closely with the printmakers and publishers. However, he was no businessman and was often in debt. The last years of his career he was in decline, physically and professionally.
William Ward was married to Maria Morland, the sister of George. He was appointed engraver to the Duke of York in 1803 and to the Prince of Wales soon after. Ward\'s engravings after Morland are some of the most beautiful prints of the period; they combine fine technical skill and inspired artistic imagination to create enduring images that speak of the taste and beauty of the age.