Atelier — Gratis fragt til hele verden — Leveringstid: 2–6 uger
      Catrin Webster, født 1966

      Catrin Websters 8 mest berømte malerier

      Untitled er det maleri, som Catrin Webster er bedst kendt for; det befinder sig på Amgueddfa Ceredigion Museum, Aberystwyth. Level Playing Fields (1996) og Reading between the Lines (1996) fuldender trioen af de mest elskede lærreder. Vores katalog indeholder 8 værker af Catrin Webster. Her er de 8 mest berømte, med årstal, museum og historien bag hvert lærred.

      Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026.

      Portræt af Catrin Webster
      Catrin Webster · født 1966
      Født · død
      født 1966
      Værker i vores katalog
      8
      Mest kendte
      Untitled
      Flest værker hos
      Amgueddfa Ceredigion Museum

      De ti mest elskede malerier af Catrin Webster

      Level Playing Fields (1996) af Catrin Webster
      2

      Level Playing Fields

      1996 · Digital · Arts Council Collection, London

      In the evocative piece Level Playing Fields, created in 1996 by the contemporary British artist Catrin Webster, we encounter a profound reimagining of the natural world. At first glance, the viewer is met with the unmistakable silhouette of a pine tree, yet this familiar botanical form has undergone a radical digital metamorphosis. The composition is anchored by a striking pyramidal structure, an upward thrust that directs the eye toward the…

      Hvor Catrin Webster's lærreder hænger

      De 3 museer, der rummer flest af malerierne på denne side.

      Museum By Værker af Catrin Webster Malerier fra denne liste
      Amgueddfa Ceredigion Museum, AberystwythAmgueddfa Ceredigion Museum Aberystwyth 4 Untitled, Untitled, Locomotion No Smoke without Fire
      Bangor University, BangorBangor University Bangor 2 Reading between the Lines, 'O' Painting 2000
      Arts Council Collection, LondonArts Council Collection London 1 Level Playing Fields

      Catrin Websters mest berømte lærreder, år efter år

      Cirka et årti ved staffeliet, fra 1996 til 2005: Catrin Webster's daterede lærreder, år efter år.

      1. 1996
        Level Playing Fields (1996) af Catrin Webster
        Rangeret som nr. 2 ud af 8

        Level Playing Fields

        Alder 30 · Arts Council Collection

        In the evocative piece Level Playing Fields, created in 1996 by the contemporary British artist Catrin Webster, we encounter a profound reimagining of the natural world. At first…

      2. 1996
      3. 2000
      4. 2005
        Hafod 2 (2005) af Catrin Webster
        Rangeret som nr. 5 ud af 8

        Hafod 2

        Alder 39

      Catrin Websters lærreder, spørgsmål for spørgsmål

      Hvilket lærred er Catrin Webster mest kendt for?Læs svaret

      Untitled, Amgueddfa Ceredigion Museum, Aberystwyth. Level Playing Fields (1996) og Reading between the Lines (1996) følger efter.

      Hvor mange malerier har Catrin Webster skabt?Læs svaret

      8 værker af Catrin Webster er i vores katalog, dateret fra 1996 til 2005.

      Hvor hænger Catrin Websters mest berømte lærreder i dag?Læs svaret

      Primært i Amgueddfa Ceredigion Museum (Aberystwyth), Bangor University (Bangor) og Arts Council Collection (London); listen ovenfor nævner hvert museum og dets lærreder.

      Hvornår malede Catrin Webster sine mest berømte lærreder?Læs svaret

      I 1996, som udgør 2 af de 8 værker på denne side, herunder Level Playing Fields.

      Hvilket berømt lærred af Catrin Webster kom først, og hvilket kom sidst?Læs svaret

      Det tidligste lærred her er Level Playing Fields (1996); det seneste er Hafod 2 (2005).

      Hvilke malerier af Catrin Webster er i Amgueddfa Ceredigion Museums samling?Læs svaret

      Amgueddfa Ceredigion Museum, Aberystwyth har 4 af værkerne på denne side, herunder Untitled, Untitled og Locomotion No Smoke without Fire.

      Mød maleren: Catrin Webster

      The Ethereal Landscapes of Catrin Webster

      Born in the vibrant cultural landscape of Cardiff, Wales, in 1966, Catrin Webster has emerged as a profound voice in contemporary British painting. Her artistic journey is not merely a chronicle of technical mastery but a deep, philosophical exploration of how the physical world intersects with the intangible realms of memory and perception. From her formative years at the prestigious Slade School of Fine Art to her distinguished tenure as a Professor of Practice at Swansea College of Art, Webster has consistently sought to bridge the gap between the tangible landscape and the internal psychological state. Her work serves as a meditative dialogue, inviting viewers to reconsider the boundaries between what is seen and what is remembered.

      Webster’s academic foundation provided her with a unique duality of approach, blending rigorous traditional painting techniques with a keen interest in conceptual inquiry. After earning her BA and a Higher Diploma in Fine Art, she embarked on doctoral research titled Intimate Distance at the University of Wales. This period was transformative, as she investigated the complexities of spatial representation and how the act of movement—specifically her experience cycling through the Welsh countryside—could serve as a catalyst for artistic creation. This embodied experience of the landscape became a cornerstone of her practice, allowing her to translate the rhythmic, physical sensation of travel into the layered, textured surfaces of her canvases.

      Texture, Light, and the Symbolism of Nature

      At the heart of Webster’s oeuvre is an exquisite preoccupation with materiality. She does not simply apply paint to a surface; she builds worlds through the meticulous layering of pigments. This technique allows her to achieve a remarkable luminosity, capturing the fleeting atmospheric conditions of the Welsh hills and the subtle, shifting nuances of light that define a moment in time. Her palette often leans into contemplative teal and deep blue hues, creating an immersive environment that feels both serene and enigmatic. Through these cool tones, she evokes the misty, tranquil moods of her native landscapes, drawing the viewer into a space of quiet reflection.

      The imagery within her work often revolves around recurring motifs that carry significant symbolic weight. The pine tree, in particular, appears frequently across her body of work, standing as a sentinel of resilience and an enduring symbol of nature’s presence within the human consciousness. In pieces such as Level Playing Fields, Webster demonstrates her ability to push beyond literal representation. In this 1996 work, she utilizes digital metamorphosis and distortion to transform a familiar botanical silhouette into an abstract vessel of pure emotion. By breaking down solid edges into flowing streaks and amorphous shapes, she mimics the way memory often softens the sharp details of reality, leaving behind only the essence of an experience.

      A Legacy of Perception and Presence

      The historical significance of Catrin Webster’s work lies in her ability to navigate the intersection of tradition and innovation. While her roots are firmly planted in the tactile traditions of painting, her willingness to engage with digital textures and philosophical concepts—such as Immanuel Kant's assertion of "I can"—positions her at the forefront of contemporary conceptual landscape art. Her practice is a continuous interrogation of how we perceive our surroundings and how technology and experience filter our understanding of the natural world.

      As an educator and practitioner, Webster continues to influence the next generation of artists, emphasizing the importance of:

      • Embodied Experience: The idea that the artist's physical interaction with their environment is vital to the creative process.
      • Materiality: Using the physical properties of paint and texture to simulate depth, light, and memory.
      • Philosophical Inquiry: Integrating deep-seated intellectual concepts into visual narratives to challenge the viewer's perception.
      Through her evocative landscapes, Catrin Webster ensures that the beauty of the Welsh terrain is not just documented, but felt, preserved within the enduring layers of art.