Guide til elevkunst
Ophavsret Dette værk er i det offentlige domæne. Francis Edwin Hodge døde i 1949; ophavsretten varer 70 år efter kunstnerens død, så den udløb i 2019.
I kontekst
A Devon Lass — Francis Edwin Hodge
Originalen måler 112 × 86 cm (højde × bredde), vist her ved siden af en voksen person af gennemsnitlig højde.
Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 66 ved død.
Skyggelagt: Francis Edwin Hodge' livstid (1883–1949) hvert dateret maleri, årti for årti
Første værker: frem til 1933 Primære arbejdsår: 1933–1943 Senere værker: fra 1943
Disse tre intervaller opdeler de værker i denne katalog, der er dateret, i et første kvartal, en midterste halvdel og et sidste kvartal. De udgør ikke kunstnerens samlede produktion: en tynd periode kan være et hul i dokumentationen snarere end en stille periode. De samme år, som kunstnerens liv er vævet ind i dem
Der findes ikke et præcist årstal for denne indspilning i arkivet — baseret på kunstnerens levetid og værkets stil, hvilket årti ville du så gætte på?
Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.
Se flere lignende værker her: topimpressionists.com/da/art/similar/francis-edwin-hodge-a-devon-lass-AQSEQM-en/
Målt ud fra billedet
Primær farve
Espresso #3d2f23
Katalogiseret palet
Disse farver i kunstnerens samlede palet Find andre malerier efter farve
De ti førende lande
Find de tre mørkeste lande på kortet. Findes det museum, der opbevarer dette maleri, i et af dem? Skriv én grund på, hvorfor folk langt væk måske ville se på det.
Sammen udgør disse værker 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 30 værker af denne kunstner, hvoraf 17 er blevet set mindst én gang. Dette maleri rangerer som nummer 3 af dem med 7,5% af den samlede opmærksomhed. Det samme gælder måned for måned
Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.
Kunstner og museum
To wander through the works of Francis Edwin Hodge is to embark on a journey through the shifting light of the early twentieth century, where the delicate grace of Impressionism meets the somber, unyielding reality of war. Born in December 1881 in the coastal beauty of Plymouth, Devon, Hodge developed an eye for the subtle nuances of the natural world from a young age. His artistic foundation was built upon a rigorous academic tradition, shaped by his studies at the prestigious Westminster School of Art and the Slade School of Fine Art. Under the mentorship of luminaries such as Augustus John, William Orpen, and Frank Brangwyn, Hodge learned to marry meticulous anatomical precision with an expressive, emotive brushwork that would become his signature.
His formative years were deeply colored by the burgeoning Impressionist movement. One can sense the lingering influence of masters like Claude Monet in Hodge’s landscapes, particularly those capturing the rugged, atmospheric Cornish coastlines. He possessed a rare ability to translate the fleeting qualities of light and mist onto canvas, creating scenes that felt less like static images and much more like captured breaths of air. This sensitivity to atmosphere allowed him to bridge the gap between the academic realism of his teachers and the luminous, sensory-driven approach of the French Impressionists.
The trajectory of Hodge’s life and art was irrevocably altered by the onset of the Great War. Enlisting in the Artists' Rifles and later serving as a captain in the Royal Field Artillery on the Western Front, Hodge was thrust into the heart of human devastation. Yet, even amidst the chaos of the trenches, his commitment to the canvas remained unbroken. This period of profound trauma infused his work with a new, psychological depth. He began to document not just the physical landscape of war, but the internal landscapes of those enduring it. Many of these evocative wartime paintings are now preserved by the Imperial War Museum, serving as haunting testaments to a generation lost.
This era of his life brought about a mastery of tonal gradation and texture that allowed him to convey the heavy, often melancholic weight of existence. Whether through a poignant portrait or a desolate battlefield scene, Hodge’s work from this period reflects a profound empathy for the human condition. His ability to find beauty within the wreckage—to capture the "echoes of war"—distinguishes him as an artist who did not merely observe history but felt its pulse.
As his career progressed, Hodge’s versatility became his greatest strength. His repertoire expanded to include intimate portraits, such as the introspective Reverie, and graceful studies of movement like Preparation for the Ballet. These works showcase a different facet of his talent: a soft, romantic realism that celebrates the quiet, contemplative moments of life. His technical prowess earned him significant recognition within the British art establishment, marked by several prestigious appointments:
1915: Elected to the Royal Society of British Artists
1927: Elected member of the Royal Institute of Oil Painters
1929: Elected member of the Royal Society of Portrait Painters
1931: Elected member of the Royal Institute of Painters in Watercolours
Beyond his individual canvases, Hodge contributed to the public's aesthetic experience through decorative commissions, including notable murals for Bedford Hospital. His membership in the Chelsea Arts Club further cemented his place within the vibrant artistic community of London. When he passed away on February 6, 1949, and was laid to rest in Chelsea’s Brompton Cemetery, he left behind a body of work that remains a vital bridge between the classical traditions of the past and the modern, emotive sensibilities of the twentieth century. His paintings continue to invite viewers into a world where light, shadow, and memory intertwine.
topimpressionists.com/da/art/download/francis-edwin-hodge-a-devon-lass-AQSEQM-en/
Se nærmere efter
A Devon Lass — Francis Edwin Hodge
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Farvepaletten i "A Devon Lass" har en mætning på Muted.
Formatet på "A Devon Lass" er Portrait. Dette er nyttigt, når du planlægger, hvor en reproduktion skal placeres.
Statistikker for "A Devon Lass" af Francis Edwin Hodge findes på værkets Besøgsstatistik-side: månedlige besøg på værket, besøg på kunstnerens øvrige værker samt en opdeling af de seneste besøgende efter land og sprog.