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Thomas Girtin 托馬斯·吉爾丁 (1775-1802) Romanticism British

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Published on Mar 19, 2017

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Thomas Girtin, (born Feb. 18, 1775, London, Eng.—died Nov. 9, 1802, London), British artist who at the turn of the 19th century firmly established the aesthetic autonomy of watercolour (formerly used mainly to colour engravings) by employing its transparent washes to evoke a new sense of atmospheric space.
While still boys, Girtin and his friend J.M.W. Turner were employed to wash in skies for architectural drawings and in colouring prints for a printseller. Girtin made copies and sketches from the works of a number of artists, and in 1794 he began to exhibit at the Royal Academy. He went on numerous sketching tours, chiefly in the north of England, and founded a sketching club for young artists. During 1801–02 he visited Paris and produced a series of etchings of that city. His gigantic panorama of London, the Eidometropolis, was exhibited in 1802, shortly before his premature death.
Girtin’s earlier landscapes are in the 18th-century topographical manner, but in his last years he evolved a bold, spacious, and Romantic style—in spirit akin to the contemporary poetry of William Wordsworth—that greatly influenced English landscape painting. Girtin’s increasing power and consummate mastery of the art of watercolour are evident in such late works as The White House, Chelsea (1800).
The White House At Chelsea 1800 This, Girtin's most celebrated work, was much admired by Turner. According to an anecdote, 'A dealer went one day to Turner, and after looking round at all his drawings in the room, had the audacity to say, 'I have a drawing out there in my hackney coach, finer than any of yours.' Turner bit his lip, looked first angry, then meditative. At length he broke silence: 'Then I tell you what it is. You have got Tom Girtin's White House at Chelsea''. The focus of the watercolour, the white house itself, is created by leaving the paper more or less unpainted. The windmill at the left was known as Red House Mill. Beyond it is the horizontal windmill at Battersea and towards the right Chelsea Parish Church.
托馬斯·吉爾丁(生於1775年2月18日,倫敦,Eng.-死於1802年11月9日,倫敦),英國藝術家誰在19世紀之交,牢固樹立水彩畫的審美自律(以前主要用於彩色版畫)採用了透明的洗滌喚起的大氣空間的新感覺。
儘管仍然男孩,吉爾丁和他的朋友J.M.W.特納被僱用在天空的建築圖紙和著色版畫的printseller洗。吉爾丁完成的複印件和草圖從一些藝術家的作品,並在1794年,他開始在皇家藝術學院展出。他繼續大量寫生之旅,主要是在英格蘭北部,並創辦了一家素描俱樂部的年輕藝術家。在1801年至1802年,他訪問了巴黎,並製作了一系列的城市版畫。他在倫敦的Eidometropolis的巨大的全景圖,展示了1802年,他的過早去世前不久。
吉爾丁早期的景觀是在18世紀的地形的方式,但在他的最後幾年,他發展了一個大膽的,寬敞,浪漫的風格,在精神上類似於威廉華茲華斯,這極大地影響了英語山水畫的當代詩歌。吉爾丁的增加功率和水彩藝術的精湛掌握在這樣後期作品如白宮,切爾西(1800)。
托馬斯·吉爾丁(Thomas Girtin,1775年-1802年11月9日)英國畫家,蝕刻畫家。吉爾丁出生在倫敦南華克區一個成功的繩索製造商家裏。在他幼年時父親病逝,他的母親嫁給了一個繪圖員瓦根。吉爾丁跟隨繼父學習繪畫,後來又師從金屬版畫家愛德華·多耶斯(Edward Doyes,1763年-1804年),他還結識了J.托納(J. M. W. Turner)。
吉爾丁的建築設計圖以及地形測繪圖還有繪畫使他成名。他在風景畫上使用水彩使他成為了現代水彩畫的創始人。他的蝕刻畫也充分體現他的藝術才華和個性。可惜他因肺結核英年早逝,托納評論道「如果吉爾丁還活着,我一定沒有現在的飯碗了。」從1794年到他去世前,他的作品一直在皇家藝術學院展出,其中一些優秀的作品由私人收藏家捐贈給了大英博物館和維多利亞與艾伯特博物館(Victoria and Albert Museum)。
"切爾西白宮"(1800),吉爾丁最著名的作品,是備受推崇特納。據一則軼事,“一位經銷商去一天特納,並在他的房間中的所有圖紙環顧四周後,卻厚顏無恥地說,”在我的那輛出租馬車我有一個畫在那裡,細比你的事。 “特納咬著嘴唇,看著率先發威,然後沉思。最後他打破了沉寂: “那我告訴你那是什麼。你有湯姆·吉爾丁的白宮在切爾西'。水彩的焦點,白色的房子本身,被留下紙或多或少未上漆的創建。在左邊的風車被稱為紅樓磨房。除了它在巴特西和向右切爾西教區教堂水平風車。

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