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Kenyon Cox, Study for Mosaic, Wisconsin State Capitol, (1912), Oklahoma City Museum of Art. Public domain. Se dette lærred i bevægeligt lys: tegningen, den sande farve under lakken, det rå pigment

Fakta om værket

Kunstner
Kenyon Cox topimpressionists.com/da/artists/kenyon-cox/
Kunstnerens årstal
1856 – 1919
Malet
1912
Medie
Pencil
Oprindelig størrelse
40 x 50 cm
Bevægelse
Classical Realism
Periode
19th Century
Afholdt hos
Oklahoma City Museum of Art topimpressionists.com/da/museums/oklahoma-city-museum-of-art-oklahoma-city/
Artistic style
Classical realism
Notable elements or techniques
Detailed anatomical study
Subject or theme
Man in suit with crown and scepter

I kontekst

Study for Mosaic, Wisconsin State Capitol, — Kenyon Cox

Hvor stor er den?

Originalen måler 40 × 50 cm (højde × bredde), vist her ved siden af en voksen person af gennemsnitlig højde.

Hvornår er dette malet?

  1. 1850
  2. 1860
  3. 1870
  4. 1880
  5. 1890
  6. 1900
  7. 1910

Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 63 ved død.

Malet da kunstneren var 56 år gammel. Kunstneren blev 63 år gammel. 50 af de 66 daterede værker af denne kunstner i vores katalog er skabt tidligere.

Skyggelagt: Kenyon Cox' livstid (1856–1919) ▲ dette værk, 1912 hvert dateret maleri, årti for årti

Første værker: frem til 1888 Primære arbejdsår: 1888–1910 Senere værker: fra 1910

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

Sammenlign med

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/kenyon-cox-study-for-mosaic-wisconsin-state-capitol-D7WVLZ-en/

Farver

Målt ud fra billedet

    Primær farve

    Khaki #d9c791

    Katalogiseret palet

    • #D9C791
    • #C0B384
    • #ABA179
    • #D0C08B

    Disse farver i kunstnerens samlede palet Find andre malerier efter farve

    Farvepalette
    Pastels Den dominerende farvefamilie i billedet.
    Navn på hovedfarve
    Khaki
    Intensitet
    Vivid Hvor mættede og varierede farverne er, fra en enkelt dæmpet nuance til mange klare nuancer.
    Kontrast
    Serene Hvor meget farverne varierer i lysstyrke og mætning på tværs af billedet.
    Harmoni
    Unified Palette Hvor godt farverne spiller sammen, fra kontrasterende til fuldstændig harmoniske.
    Lysstyrke
    Brilliant Hvor lyst eller mørkt billedet fremstår samlet set, fra dybe skygger til lyse højlys.
    Mætning
    Clear Color Presence Hvor rene og stærke farverne er, fra næsten grå til fuldt livlige.

    Hvor i verden bliver dette maleri set?

    • mindst 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og derover
    Dette maleri alene har for få registrerede besøgende til at kunne kortlægges, så pladen viser alle værker af Kenyon Cox i løbet af de sidste tolv måneder — 3 lande i alt. Kildehenvisning til disse tal

    De ti førende lande

    1. 1 Kina 83,3%3.000 besøg
    2. 2 USA 11,1%400 besøg
    3. 3 Singapore 5,6%200 besøg

    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.

    De 20 mest viste værker af Kenyon Cox

    1. 1 After Boltraffio, Sacra Conversazione, 1882 7,5%300 besøg
    2. 2 Study for Mosaic, Wisconsin State Capitol,, 1912 dette maleri 5,0%200 besøg
    3. 3 Nude Study for Mosaic, Wisconsin State Capitol,, 1912 5,0%200 besøg
    4. 4 Study for Christ, 1905 5,0%200 besøg
    5. 5 Study for Mosaic, Wisconsin State Capital, Justice, 1913 5,0%200 besøg
    6. 6 Head of the Queen of Egypt, 1888 5,0%200 besøg
    7. 7 The Fall, 1892 5,0%200 besøg
    8. 8 (Untitled) (Greco Roman Discus Thrower), 1873 5,0%200 besøg
    9. 9 (Iowa State Capitol Rotunda) (Hunting, study for panel), 1905 5,0%200 besøg
    10. 10 Study for Mural for Appellate Court Building, New York Statute Law , Helmet for Figure of Force, 1899 2,5%100 besøg
    11. 11 Study for Mosaic, Wisconsin State Capitol,, 1912 2,5%100 besøg
    12. 12 Nude Study for Mosaic, Wisconsin State Capitol,, 1912 2,5%100 besøg
    13. 13 Sketch for the Mural at Oberlin College, The Spirit of Self Sacrificing Love, 1914 2,5%100 besøg
    14. 14 Study for Science Instructing Industry, 1898 2,5%100 besøg
    15. 15 After Titian's Madonna of the Rabbit, 1882 2,5%100 besøg
    16. 16 Sketch for Mosaic, Wisconsin State Capital, Justice, 1912 2,5%100 besøg
    17. 17 An Eclogue, 1890 2,5%100 besøg
    18. 18 Study for mosaic in the Wisconsin State Capital Government and Liberty, 1912 2,5%100 besøg
    19. 19 Book of Pictures, 1917 2,5%100 besøg
    20. 20 The Progress of Civilization Science and Art (mural study, State Capitol, Des Moines, Iowa), 1906 2,5%100 besøg

    Sammen udgør disse værker 75,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 67 værker af denne kunstner, hvoraf 30 er blevet set mindst én gang. Dette maleri rangerer som nummer 2, med 5,0% af den opmærksomhed (200 besøg). 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.

    Om dette kunstværk

    Study for Mosaic, Wisconsin State Capitol, — Kenyon Cox

    A Vision in Graphite: The Preparatory Soul of a Monument

    In the quiet, focused atmosphere of a 1912 studio, Kenyon Cox engaged in the profound act of preparation, translating grand architectural ambitions into the intimate language of pencil and paper. His Study for Mosaic, Wisconsin State Capitol serves as a breathtaking window into the artist's mind, capturing the moment before the permanence of stone and glass takes hold. This exquisite work is not merely a sketch; it is a blueprint of classical dignity. Through delicate yet decisive strokes, Cox presents a figure that commands respect—a man draped in the regalia of authority, wearing a crown and clutching a scepter. The drawing breathes with a sense of monumental purpose, acting as the vital precursor to the sprawling, luminous mosaics that would eventually grace the halls of American civic architecture.

    The technique employed here is a masterclass in tonal control and anatomical precision. Working within a monochromatic palette, Cox utilizes the subtle gradations of graphite to sculpt form out of the void. Every fold of the subject's suit, every glint of light upon the scepter, and the heavy, dignified weight of the crown are rendered with an exacting realism that speaks to his rigorous training at the École des Beaux-Arts. There is a rhythmic quality to his linework, where the interplay of deep shadows and soft highlights creates a three-dimensional presence on the two-dimensional surface. For the discerning collector or interior designer, this piece offers a sophisticated textural depth, providing a focal point that feels both historically grounded and visually dynamic.

    Symbolism and the Classical Legacy

    Beyond its technical brilliance, the study is steeped in the symbolism of the American Renaissance. By depicting a figure of sovereign power through the lens of classical realism, Cox connects the burgeoning identity of the Wisconsin State Capitol to the timeless traditions of Western civilization. The scepter and crown are not merely props; they are emblems of order, law, and the enduring strength of civic institutions. This piece invites the viewer to contemplate the intersection of individual artistry and collective heritage. It captures a sense of "timeless beauty" that transcends its 1912 origins, making it an ideal acquisition for those looking to infuse a space with themes of stability, wisdom, and historical continuity.

    For those seeking to curate an environment of intellectual elegance, this reproduction offers more than just decoration; it provides a conversation piece. Whether placed in a private library, a formal study, or a contemporary gallery setting, the Study for Mosaic brings with it the gravitas of the early 20th-century academic tradition. It is a work that rewards prolonged observation, revealing new nuances of light and shadow with every glance, and serves as a poignant reminder of the meticulous labor required to create lasting monuments of art.

    Kunstner og museum

    Kunstner

    Kenyon Cox

    Kenyon Cox: Life and Legacy

    Early Life and Education

    Born: October 27, 1856, in Warren, Ohio.

    Parents: Jacob Dolson Cox and Helen Finney Cox.

    Kenyon Cox initially studied at the Art Academy of Cincinnati (formerly the McMicken School of Art). However, he quickly recognized the limited artistic opportunities available in the city.

    Following a visit to the Centennial Exposition in Philadelphia, he decided to pursue further education at the Pennsylvania Academy of Fine Arts, hoping it would lead to studies in Europe.

    Parisian Training and Influences

    In 1877, Cox moved to Paris, joining a wave of American artists seeking artistic inspiration. He believed Paris was experiencing a “second renaissance” in art.

    Influential Teachers: Carolus-Duran, Jean-Léon Gérôme, and Alexandre Cabanel at the École des Beaux-Arts.

    He initially studied under Carolus-Duran but became frustrated with what he perceived as a “vulgarity” in Duran’s style.

    Travels throughout France and Italy exposed him to the works of Renaissance masters, profoundly shaping his artistic vision.

    Career in New York and Artistic Style

    In 1882, Cox returned to New York City, where he established himself as a painter and illustrator.

    Illustration Work: He became well-known for his magazine illustrations, which reached a wider audience than his paintings.

    Art Criticism: Cox also wrote unsigned art criticisms for the New York Evening Post, supplementing his income.

    His artistic style leaned towards realism, with a focus on landscapes, portraits, and genre studies. He was known for idealized nudes and traditional treatments of classical themes.

    Teaching and Institutional Involvement

    Art Students League of New York: Cox became a highly influential instructor at the Art Students League, shaping generations of artists. He designed the League’s logo featuring the motto “Nulla Dies Sine Linea” (No Day Without a Line).

    Elected an Associate Academician of the National Academy of Design in 1900 and a full Academician in 1903.

    Founding Member: He was one of the founders and secretary of the National Free Arts League.

    Leadership Roles: Served as president of the National Society of Mural Painters from 1915 to 1919, and held memberships in various prestigious art organizations.

    Major Achievements and Historical Significance

    Cox’s work represented a commitment to classical ideals at a time when modern art movements were emerging. He advocated for careful drawing, modulated color, and the use of allegory and symbolism.

    His writings, such as “Two Ways of Painting,” articulated his views on figurative art versus abstract or representational styles.

    Legacy: Though not a radical innovator, Kenyon Cox played a crucial role in maintaining traditional artistic standards and educating aspiring artists. His influence extended through his teaching and his contributions to the American art establishment.

    Death: March 17, 1919.

    Museum

    Oklahoma City Museum of Art

    Udstillet i Oklahoma City, United States of America

    A Beacon of Artistic Vision: The Oklahoma City Museum of Art

    Nestled within the vibrant heart of downtown Oklahoma City, the Oklahoma City Museum of Art (OKCMOA) stands as more than just a repository for artistic treasures; it’s an immersive experience, a dynamic hub where art breathes life into the city and invites visitors on a journey through centuries of creative expression. From its humble beginnings as a grassroots initiative in the early 20th century to its current status as a nationally recognized institution, OKCMOA's story is one of unwavering dedication, visionary leadership, and a profound commitment to making art accessible to all. The museum’s architecture itself—a striking testament to modern design—seamlessly integrates with the collection, creating an environment that both celebrates and enhances the power of artistic vision.

    At the heart of OKCMOA's compelling narrative lies its extraordinary collection, a carefully curated tapestry woven from diverse threads of American and international art. The museum’s strength resides particularly in its powerful representation of postwar abstraction, showcasing the revolutionary works of artists who redefined the boundaries of artistic expression following World War II. These pieces—often characterized by their non-representational forms, bold colors, and evocative textures—invite contemplation and challenge conventional notions of beauty. Beyond this pivotal period, visitors will discover a rich array of American art spanning from classic realism to the energetic experimentation of modernism, alongside an impressive international collection that offers a global perspective on artistic traditions. A truly unforgettable centerpiece is the museum’s unparalleled assemblage of Dale Chihuly glass art, culminating in the breathtaking Eleanor Blake Kirkpatrick Memorial Tower—a swirling cascade of vibrant colors and organic shapes that dominates the atrium and serves as a mesmerizing focal point.

    Architectural Harmony: The Donald W. Reynolds Visual Arts Center

    The building itself is an integral part of the OKCMOA experience, a masterpiece of modern design conceived by architect Rand Elliott. The Donald W. Reynolds Visual Arts Center isn’t merely a structure housing art; it responds to it, providing a neutral yet stimulating backdrop that enhances the viewing experience. A distinctive glass façade floods the interior with natural light, creating an inviting atmosphere and highlighting the brilliance of the artworks within. This thoughtful design philosophy extends beyond aesthetics, prioritizing accessibility and flow to ensure visitors can easily navigate the galleries and fully immerse themselves in the world of art. The building’s open layout encourages exploration, while its strategic use of space creates a sense of both grandeur and intimacy – a perfect balance for appreciating the diverse range of artistic expressions on display.

    A Living Museum: Exhibitions and Community Engagement

    OKCMOA is far more than a static collection; it’s a vibrant, evolving institution dedicated to fostering engagement with the arts. The museum consistently enriches its offerings through rotating exhibitions that bring fresh perspectives and showcase both established and emerging artists. Beyond visual art, OKCMOA actively cultivates a thriving cultural scene, hosting film screenings—featuring independent, foreign, and classic cinema—lectures by renowned scholars, and special events designed to appeal to diverse interests. These programs are thoughtfully curated to engage visitors of all ages and backgrounds, fostering a deeper appreciation for the arts and encouraging creative exploration. The museum’s commitment to education is evident in its numerous workshops and outreach initiatives, ensuring that art remains accessible and relevant within the community it serves.

    A Legacy of Innovation and Community Impact

    What truly sets OKCMOA apart is its unique blend of artistic excellence, architectural innovation, and an unwavering dedication to public engagement. Its central location within downtown Oklahoma City makes it a convenient destination for both tourists and locals alike, surrounded by other cultural attractions and vibrant urban amenities. The museum’s diverse collections cater to a wide range of tastes, ensuring that every visitor will discover something to inspire and captivate them. From the iconic Dale Chihuly Tower to the profound impact of its collection of American and international art, OKCMOA stands as a testament to the power of art to enrich lives and strengthen communities – a true beacon of creativity in the heart of the American landscape.

    Additional Resources

    Website:

    https://www.okcmoa.com/

    Wikipedia:

    https://en.wikipedia.org/wiki/Oklahoma_City_Museum_of_Art

    Læs mere her

    Findes online

    QR-kode med link til downloadside for Study for Mosaic, Wisconsin State Capitol,

    topimpressionists.com/da/art/download/kenyon-cox-study-for-mosaic-wisconsin-state-capitol-D7WVLZ-en/

    Kildehenvisning til dette kunstværk

    MLA
    Cox, Kenyon. Study for Mosaic, Wisconsin State Capitol, . 1912, Oklahoma City Museum of Art. https://topimpressionists.com/da/art/kenyon-cox-study-for-mosaic-wisconsin-state-capitol-D7WVLZ-en/
    APA
    Cox, Kenyon (1912). Study for Mosaic, Wisconsin State Capitol, [Painting]. Oklahoma City Museum of Art. https://topimpressionists.com/da/art/kenyon-cox-study-for-mosaic-wisconsin-state-capitol-D7WVLZ-en/
    Chicago
    Kenyon Cox. Study for Mosaic, Wisconsin State Capitol, . 1912. Oklahoma City Museum of Art. https://topimpressionists.com/da/art/kenyon-cox-study-for-mosaic-wisconsin-state-capitol-D7WVLZ-en/
    Harvard
    Cox, Kenyon (1912) Study for Mosaic, Wisconsin State Capitol, . Oklahoma City Museum of Art. Available at: https://topimpressionists.com/da/art/kenyon-cox-study-for-mosaic-wisconsin-state-capitol-D7WVLZ-en/

    Se nærmere efter

    Study for Mosaic, Wisconsin State Capitol, — Kenyon Cox

    Se nærmere efter

    Svar med dine egne ord. Der er ingen forkerte svar her – kun svar, som du kan forklare.

    1. Hvad fanger dit øje først, og hvorfor?
    2. Hvilke farver eller former skaber stemningen — og hvad er den stemning?
    3. Vores katalog klassificerer dette værk under: classical realism, mosaic study, pencil sketch. Er du enig? Hvad ville du tilføje eller fjerne?
    4. Se tilbage på Augustus Saint-Gaudens (1908) tidligere i denne guide. Nævn to ting, som det har til fælles med dette værk, og én ting, der er forskellig.
    5. Kenyon Cox var omkring 56 år gammel, da dette blev skabt. Hvad i værket bærer præg af at være skabt af en kunstner på det stadie?

    Dit svar

    Skriv et kort afsnit om dette kunstværk. Brug fakta fra de tidligere dele af denne guide samt dine svar ovenfor.

    Spørgsmål og svar

    I hvilket år og inden for hvilken stilart blev "Study for Mosaic, Wisconsin State Capitol," skabt?

    "Study for Mosaic, Wisconsin State Capitol," blev skabt i 1912 som et værk inden for Classical Realism-bevægelsen. Datoen og stilen forankrer kunstværket i kunsthistorien.

    Hvad er den anbefalede printstørrelse til "Study for Mosaic, Wisconsin State Capitol," af Kenyon Cox?

    Den anbefalede trykstørrelse til "Study for Mosaic, Wisconsin State Capitol," af Kenyon Cox er Small.

    Hvilket rum anbefales "Study for Mosaic, Wisconsin State Capitol," af Kenyon Cox til?

    En reproduktion af "Study for Mosaic, Wisconsin State Capitol," vil passe smukt ind i et Office.