Guide til elevkunst
Ophavsret Dette værk er i det offentlige domæne. Richard Beavis døde i 1896; ophavsretten varer 70 år efter kunstnerens død, så den udløb i 1966.
I kontekst
Horses — Richard Beavis
Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 72 ved død.
Malet da kunstneren var 46 år gammel. Kunstneren blev 72 år gammel. 3 af de 19 daterede værker af denne kunstner i vores katalog er skabt tidligere.
Skyggelagt: Richard Beavis' livstid (1824–1896) ▲ dette værk, 1870 hvert dateret maleri, årti for årti
Første værker: frem til 1870 Primære arbejdsår: 1870–1878 Senere værker: fra 1878
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
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/richard-beavis-horses-AQZUBW-en/
Målt ud fra billedet
Primær farve
Celadon #b3bec4
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 7 er blevet set mindst én gang. Dette maleri er endnu ikke blevet vist i denne periode — det afslutter listen uden en rangering. 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
Richard Beavis (1824-1896) remains a somewhat enigmatic figure within the pantheon of 19th-century British landscape painters, yet his work possesses a quiet power and atmospheric sensitivity that continues to captivate. Born in England, Beavis dedicated his artistic life to capturing the beauty of both his native land and the alluring landscapes of Brittany and France. While not achieving the widespread renown of some of his contemporaries, his consistent exhibition at the Royal Academy – spanning several decades – testifies to a recognized talent and a dedication to plein-air painting that foreshadowed the Impressionist movement. Beavis’s artistic journey was one of subtle refinement, moving from detailed topographical studies towards a more emotive and atmospheric rendering of light and color. He wasn't merely recording scenes; he was translating feeling onto canvas.
Details regarding Beavis’s early life are scarce, adding to the mystique surrounding his career. However, it is known that he received formal artistic training, likely in London, during a period when landscape painting enjoyed immense popularity. The influence of earlier masters such as John Constable and J.M.W. Turner is subtly present in his early works – a reverence for natural light and an attempt to capture the transient effects of weather are hallmarks of this formative period. He quickly established himself as a skilled watercolourist, a medium particularly suited to capturing the delicate nuances of the British countryside. His initial focus was on detailed depictions of rural scenes, often featuring picturesque villages and idyllic river landscapes. These early paintings demonstrate a meticulous attention to detail and a strong understanding of perspective, but they lack the emotional depth that would characterize his later work. It’s believed he travelled extensively throughout England during this time, honing his observational skills and developing a keen eye for composition.
A pivotal moment in Beavis's artistic development came with his repeated visits to Brittany, France, beginning in the mid-19th century. The rugged coastline, dramatic skies, and unique quality of light in this region profoundly impacted his style. He became increasingly drawn to the landscapes around Fontainebleau, a location favored by artists associated with the Barbizon School. The Barbizons – Théodore Rousseau, Jean-François Millet, and Camille Corot among them – championed a realistic approach to landscape painting, emphasizing direct observation of nature and a rejection of academic conventions. While Beavis never fully embraced the social realism of some Barbizon painters, he absorbed their commitment to plein-air painting and their focus on capturing the atmospheric effects of light and shadow. His Brittany scenes are characterized by a looser brushstroke, a more muted palette, and a greater emphasis on conveying mood and atmosphere than precise topographical accuracy.
Beavis’s consistent exhibition at the Royal Academy from 1849 until his death in 1896 underscores his standing within the British art establishment. His submissions typically featured landscapes of Brittany, Fontainebleau, and England, showcasing a growing mastery of watercolour and oil painting.
He skillfully depicted coastal scenes with crashing waves and windswept cliffs.
His paintings of Fontainebleau forests are imbued with a sense of tranquility and mystery.
Even his English landscapes gained a new depth and emotional resonance, reflecting the influence of his French experiences.
Over time, Beavis’s palette became richer and more nuanced, and his brushwork looser and more expressive. He moved away from highly detailed renderings towards a more suggestive style, allowing the viewer to complete the scene with their own imagination. His mature works are characterized by a subtle interplay of light and shadow, creating a sense of depth and atmosphere that draws the viewer into the landscape. He often employed a technique of layering washes of color, building up tonal variations to create a luminous effect.
Richard Beavis’s work occupies an interesting position within 19th-century British art history. He wasn't a revolutionary figure like Turner or Constable, but he was a dedicated and skilled painter who consistently produced high-quality landscapes that captured the beauty of both England and France. His embrace of plein-air painting and his focus on atmospheric effects foreshadowed the Impressionist movement. While often categorized as part of the British landscape tradition, his time in Brittany and his exposure to the Barbizon School infused his work with a distinctly European sensibility. Today, Beavis’s paintings are appreciated for their quiet beauty, their evocative atmosphere, and their subtle mastery of light and color. He represents a bridge between the Romantic traditions of earlier generations and the more modern approaches that would define the art of the late 19th and early 20th centuries – a painter who quietly observed and beautifully translated the world around him onto canvas.
Udstillet i Bournemouth, United Kingdom
Nestled precariously yet proudly upon Bournemouth’s dramatic East Cliff, overlooking the shimmering, restless expanse of the English Channel, stands a testament to Victorian passion and the art of collecting: the Russell-Cotes Art Gallery & Museum. To approach this magnificent edifice is to step away from the modern world and into a curated dreamscape of late nineteenth-century opulence. Originally known as East Cliff Hall, the building was conceived in 1897 by Sir Merton Russell-Cotes as an extravagant birthday gift for his beloved wife, Lady Annie. It was never merely a residence; it was a stage set for a life lived through the lens of global beauty. The architecture itself serves as a breathtaking introduction to the collection within, presenting a delightful fusion of styles that epitomizes the era’s eclectic spirit. As one enters, the eye is immediately drawn upward toward a grand staircase that sweeps toward a celestial glass dome, where mosaics and heavenly imagery create an atmosphere of profound aspiration and light.
The interior of the museum is a masterclass in decorative harmony, blending French, Moorish, and Japanese influences into a uniquely British aesthetic. For the interior designer or lover of fine craftsmanship, the halls offer an inexhaustible source of inspiration. Every room feels like a carefully composed painting, where ornate detailing, intricate textiles, and exquisite porcelain coalesce to tell a story of worldly erudition. Sir Merton’s fascination with global cultures is etched into the very fabric of the walls, particularly through the subtle Japanese motifs that bring a sense of Zen-like contemplation to the otherwise grand Victorian setting. This seamless integration of disparate cultural elements creates a space that feels both intimate and expansive, much like the adventurous spirits of its founders.
The collection held within these walls is far more than a mere repository of beautiful objects; it is a deeply personal narrative of discovery. The museum’s strength lies in its ability to bridge the gap between European mastery and Eastern artistry. Visitors will find themselves captivated by an impressive array of Victorian paintings, where the meticulous detail and romantic sensibility of artists like John Everett Millais and Edward Burne-Jones breathe life into scenes of myth and melancholy. To stand before a work that evokes the haunting beauty of Shakespearean tragedy is to understand the emotional depth Sir Merton sought to preserve. Yet, just as one becomes immersed in the European tradition, the museum pivots toward the delicate elegance of Japan. The extensive selection of Japanese ceramics, prints, and textiles reflects a genuine cultural exchange, offering a window into an era where the aesthetics of the East began to profoundly reshape Western decorative arts.
Beyond these primary pillars, the museum’s holdings expand into a truly global dialogue, encompassing treasures from Africa, Asia, and the Americas. This vast assemblage allows curators to weave thematic threads that connect ancient Egypt to the Renaissance, inviting collectors and historians alike to trace the shared human impulse toward beauty. A particularly poignant corner of this legacy is the dedicated Sir Henry Irving Museum. Born from a close friendship with the legendary Victorian actor, this space is filled with theatrical memorabilia, costumes, and scripts that illuminate the transformative power of performance. It serves as a moving reminder that art is not static; it is a living, breathing force that shapes society and commemorates our most influential cultural icons.
The enduring magic of the Russell-Cotes lies in its transition from a private sanctuary to a public treasure. In 1907, Lady Annie Russell-Cotes made the profound decision to gift East Cliff Hall and its magnificent contents to the town of Bournemouth. This act of selfless philanthropy ensured that the splendor of their private world would be shared with all generations, fostering a legacy of education and aesthetic appreciation. Today, the museum continues to pulse with contemporary vitality, hosting temporary exhibitions that breathe new life into its historic halls—such as the enchanting displays of Cicely Mary Barker’s Flower Fairies, which mirror the seaside magic of the surrounding coast.
As the natural light filters through the great glass dome, casting dancing shadows across the curated treasures, one is reminded that the museum is inextricably linked to its coastal setting. The salt air and the view of the English Channel provide a constant, rhythmic backdrop to the silent stories told by the artifacts within. For the art enthusiast, the Russell-Cotes is not just a place to observe history, but a place to experience it—a vibrant, breathing intersection of memory, design, and the eternal pursuit of the sublime.
topimpressionists.com/da/art/download/richard-beavis-horses-AQZUBW-en/
Se nærmere efter
Horses — Richard Beavis
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"Horses" af Richard Beavis kan opleves som et diasshow på værkets Billedserie-side.
Du kan downloade billedet af "Horses" af Richard Beavis på værkets side med Download: et højopløseligt digitalt billeddownload.
Håndmalede kopier af "Horses" af Richard Beavis kan købes hos denne hjemmeside: en håndmalet oliereproduktion på lærred af hør, via deres Håndmalet reproduktion-side.