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The Day's End

Nimi Klass Kuupäev

Ernest Procter, The Day's End (1927), New Walk Museum - Art Gallery. Avalik omand Vaadake seda künist liikuvas valguses: joon, lakki all asuv tõeline värv ja puhas pigment

Faktid

Kunstnik
Ernest Procter topimpressionists.com/et/artists/ernest-procter/
Kunstniku eluaastad
1885 – 1935
Maalatud
1927
Originaalmõõtmed
92 x 107 cm
Toimub kohas
New Walk Museum - Art Gallery topimpressionists.com/et/museums/new-walk-museum-art-gallery-leicester_et/

Kontekstis

The Day's End — Ernest Procter

Mis on selle mõõt?

Originaali mõõdud on 92 × 107 cm (kõrgus × laius); teos on joonistatud siin võrdluseks keskmise kõrgusega täiskasvanuga.

Millal see maalis on tehtud?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930

Ülemine rida: aastad. Alumine rida: kunstniku vanus iga perioodi alguses ja lõpus — 0 sünni hetkel, 50 surumisel.

Maalatud siis, kui kunstnik oli 42 aastane. Kunstnik elas 50 aastani. 5 meie kataloogis olevatest selle kunstniku 16 dateeritud teosest on loodud varem.

Varjatud: Ernest Procter eluajal (1885–1935) ▲ see teos, 1927 iga dateeritud maal, aastakümne kaupa

Esimesed teosed: kuni 1925 Peamised töötusaastad: 1925–1929 Hilisemad teosed: alates aastast 1929

Need kolm osa jagavad selles kataloogis kuupäevaga märgitud teosed esimeseks neljanüüdiks, keskmiseks pooleks ja viimaseks neljanüüdiks. Need ei kujuta endast kunstniku tervikut: vähem produktiivne periood võib tähendada hoopis puudut teose kataloogist, mitte pelgalt vaikset aega. Aastad, mis on kooditud kunstniku elulugu

Võrdle teoseid

Vali üks eelnev teos: too kaks asja, mis sellega ühendavad, ja üks asi, mis sellest erineb.

Veel sarnaseid teoseid, mida selle kõrvale asetada: topimpressionists.com/et/art/similar/ernest-procter-the-day-s-end-AQUEHC-en/

Värvid

Pildist mõõdetud

    Peavärv

    Gray #887f6e

    Katalogistatud palett

    • #887F6E
    • #383026
    • #59554E
    • #B9B195

    Need värvid on osa kunstniku terviklikust paletist Leia teisi maaleid värvi järgi

    Palett
    Earthy Pildis domineeriv värvigrupp.
    Peavärvi nimi
    Gray
    Intensiivsus
    Monochromatic Kui kütkestavad ja mitmekülgsed värvid on, alates ühest peenust toonist kuni paljude ere värvini.
    Kontrast
    Bold Kuidas värvid pildil valguse ja kяmbuse osas erinevad.
    Harmonia
    Strong Color Unity Värvide omavaheline kooskõlevus, alates kontrastsetest kuni täielikult ühtlaste toonidega.
    Heleus
    Balanced Kuidas pilt üldiselt vaatub – alates sügavast varjust kuni eredast kõrvalvalgusest.
    Kintus
    Muted Värvide puhtus ja intensiivsus ulatub halli lähedastest toonidest kuni täielikult elavate värvide kuni.

    Kus maailmas seda maali vaadatakse?

    • madalaim 1% osa
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% ja rohkem
    Selle maali külastajate arv on dokumenteeritud liiga vähe, et teha kaardi koostamist, seega on plaat kujutanud kõik Ernest Procter teosed viimase zwölf kuuga — kokku 4 riiki. Kust need numbrid pärinevad

    Kolm kümmet juhtivat riiki

    1. 1 Hiina 57,1%
    2. 2 Ühendusriik 14,3%
    3. 3 Iirimaa 14,3%
    4. 4 Ameerika Ühendriigid 14,3%

    Leia kaardilt kolm kõige pimedamat riiki. Kas seda maali hoiustav muuseum asub mõnes neist? Kirjuta üles üks põhjus, miks kauguse poolest inimesed seda vaadata võivad.

    Ernest Procter kõige vaatamistundlikumad teosed (kokku 6)

    1. 1 The Cottage, 1931 50,0%
    2. 2 On the Banks of the Irawaddy, 1912 12,5%
    3. 3 Uphill from the North, 1934 12,5%
    4. 4 Hampstead Heath (Figures and Dogs amongst Trees), 1929 12,5%
    5. 5 Shipton Hill, Dorset 12,5%
    6. — The Day's End, 1927 see maalaus 0,0%

    Koos kattavad need teosed 100,0% kogu sellest tähelepanust, mida selle kunstniku maalid möödunud zwölf kuud on saanud. Kataloogis on 19 seda kunstnikku kuuluvat teost, millest 5 on vähemalt üks kord vaadatud. Seda teost ei ole antud perioodil veel vaadatud — see lõpetab nimekirja ilma reitinguta. Sama arv, kuu-kuu põhjal

    Tugid mõõdavad tähelepanu, mitte kvaliteeti. Valige tippkohtadel olevad teosed ja see üks: nimetage üks asi, mis võib muuta maali kuulsaks lisaks sellele, kui hästi on see maalitud.

    Teose info

    The Day's End — Ernest Procter

    The painting The Day's End by Ernest Procter is a stunning example of modern British art. Created in 1927, this oil on canvas piece measures 92 x 107 cm and is currently housed at the New Walk Museum - Art Gallery in Leicester, United Kingdom. The artwork features two naked women embracing each other, set against a breathtaking landscape with mountains and water.

    Artistic Style and Influences

    Ernest Procter's style is characterized by his use of bold colors and expressive brushstrokes, which are evident in The Day's End. His work was influenced by various artistic movements, including modernism and impressionism. As a prominent artist of his time, Procter was part of a group of artists who sought to break away from traditional techniques and explore new ways of expressing themselves. Key Features of the painting include:

    The use of vibrant colors to create a sense of warmth and intimacy

    The emphasis on the emotional connection between the two women

    The beautiful landscape, which adds depth and context to the scene

    For more information on Ernest Procter and his works, visit /art/list/?Filter=AQUEHC-Ernest-Procter-The-Day-s-End.

    Other notable artists whose works are featured on https://AllPaintingsStore.com include Harry Morley, known for his painting A Wayside Madonna, and George Howland Beaumont, who created the stunning Mountain Scenery. These artists, along with Ernest Procter, have contributed to the rich cultural heritage of British art.

    To learn more about the New Walk Museum - Art Gallery and its collection, visit /art/list/?Filter=A@D3BR8T-Discovering-the-Artworks-of-County-Hall-Matlock-Matlock-United-Kingdom. For handmade oil painting reproductions of The Day's End and other notable works, browse the extensive collection on https://AllPaintingsStore.com.

    Kunstnik ja muuseum

    Kunstnik

    Ernest Procter

    Ernest Procter: A Cornish Vision of Light and Sensuality

    Born in Tynemouth, Northumberland, in 1885, Ernest Procter’s artistic journey began within a family steeped in tradition – his father, Henry Richardson Procter, was a distinguished chemist and Fellow of the Royal Society, while his lineage traced back to generations of Quaker tanners. This unique blend of scientific rigor and artisanal heritage profoundly shaped Procter's approach to art, imbuing his work with both meticulous observation and a deep appreciation for texture and materiality. Initially educated at Bootham Friends’ School in York, he later found his way to Newlyn, Cornwall, a burgeoning hub of artistic innovation during the early 20th century – a place that would become inextricably linked to his identity and creative output.

    Newlyn, with its vibrant community of artists drawn from across Britain, offered Procter an environment ripe for experimentation. He enrolled in Stanhope Forbes’ School of Painting, absorbing the principles of Impressionism and the Newlyn School's distinctive style – a focus on capturing the fleeting effects of light and atmosphere, particularly within the rugged beauty of the Cornish coastline. His time under Forbes proved formative, fostering his technical skills and introducing him to fellow students like Dod Procter, whom he would later marry in 1912. This union marked not only a personal partnership but also a collaborative artistic force; together, they established the Harvey-Procter School, a respected institution that nurtured young artists and contributed significantly to the local art scene.

    The Influence of Forbes and Parisian Training

    Stanhope Forbes’ teachings were crucial in shaping Procter's early style. Forbes emphasized direct observation, encouraging students to capture the essence of their subjects rather than relying on academic conventions. This approach is evident in Procter’s landscapes – particularly his depictions of Penlee Point, a dramatic headland overlooking the Atlantic – where he masterfully renders the interplay of light and shadow, conveying both the grandeur and vulnerability of the Cornish coastline. However, Procter's artistic development extended beyond Newlyn; he spent time studying at the Atelier Colarossi in Paris, immersing himself in the vibrant atmosphere of the Parisian art world and absorbing the techniques of Impressionism and Post-Impressionism. Artists like Pierre-Auguste Renoir and Paul Cézanne undoubtedly influenced his palette and approach to capturing fleeting moments.

    Portraits and the Exploration of Sensuality

    While Procter’s landscapes are undeniably striking, it is perhaps in his portraits that he truly excelled. His subjects – often young women from the local fishing community – were rendered with a remarkable sensitivity and attention to detail. He eschewed idealized representations, instead capturing their inherent dignity and vulnerability. Works like “Professor Henry Richardson Procter” showcase this talent for realism, while simultaneously conveying a sense of quiet wisdom and inner strength. His portraits are not merely likenesses; they are imbued with emotion, revealing the subtle nuances of human character through masterful use of light, shadow, and texture – particularly his signature impasto technique.

    Key Works and Recognition

    Among Procter’s most celebrated works is “Morning,” a captivating portrait of a young fisherman's daughter that caused a sensation at the 1927 Royal Academy exhibition. The painting’s evocative depiction of light, shadow, and emotion secured it the title of "Picture of the Year" and was subsequently purchased by the Daily Mail for display in the Tate Gallery. Other notable works include “Penlee Point,” a stunning landscape that exemplifies his mastery of capturing the Cornish coastline, and “Uphill from the North,” a vibrant depiction of a coastal scene showcasing his ability to translate the beauty of nature onto canvas. His work was also exhibited at the Royal Academy, the Leicester Galleries, and other prestigious venues throughout Britain.

    A Legacy in Cornwall

    Ernest Procter’s artistic legacy extends far beyond his individual paintings. He played a pivotal role in fostering the Newlyn School and its distinctive style, contributing to the development of Cornish art as a whole. His commitment to teaching and mentorship ensured that his techniques and vision were passed on to future generations of artists. Even today, Procter's work continues to resonate with viewers, offering a poignant glimpse into the beauty and spirit of Cornwall – a testament to an artist who captured not just the landscape but also the very essence of human experience.

    Muuseum

    New Walk Museum - Art Gallery

    Näitustel asuvas koht Leicester, United Kingdom

    A Tapestry of Time: The Soul of Leicester Museum & Art Gallery

    Nestled along the historic promenade of New Walk, the

    Leicester Museum & Art Gallery

    stands as a profound testament to the enduring human impulse to collect, preserve, and celebrate. This venerable institution has evolved from a modest showcase of British art into a sprawling, multidisciplinary sanctuary where the boundaries between science, history, and fine art dissolve. To walk through its halls is to embark on a curated journey through the epochs, moving seamlessly from the primordial whispers of the Mesozoic Era to the avant-garde provocations of the twentieth century. The museum does not merely display objects; it orchestrates an encounter with the very essence of our shared heritage.

    The architectural grandeur of the museum serves as a stately prelude to the treasures within. Designed by the ingenious

    Joseph Hansom

    —the mastermind behind the iconic hansom cab—the building itself is a masterpiece of Victorian ambition, reflecting an era defined by progress and aesthetic rigor. Its structure provides a dignified stage for a collection that is as diverse as it and deep, offering a sense of stability and permanence amidst the ever-changing currents of history.

    A Confluence of Artistic Mastery and Scientific Wonder

    For the art lover, the gallery offers a breathtaking panorama of styles, most notably within its celebrated

    German Expressionist

    section. Here, the canvas erupts with bold, emotive colors and distorted forms that capture the raw psychological intensity of a transformative period in European history. This visceral energy is balanced by the exquisite

    Attenborough Collection of Picasso Ceramics

    , a world-renowned assemblage meticulously curated by Sir David Attenborough. This collection serves as a poignant intersection of scientific curiosity and artistic passion, showcasing how form and medium can transcend their physical boundaries.

    Beyond the realm of the canvas, the museum invites a deeper exploration into the mysteries of life and death. The halls are haunted by the magnificent silhouettes of prehistoric giants, including the formidable

    Tyrannosaurus Rex

    and the intricately detailed skeletons of the

    Cetiosaurus

    and

    Plesiosaur

    . These fossils, such as the beloved "George," offer a humbling perspective on the vast scales of geological time. This sense of wonder extends into the Ancient Egypt exhibit, where the quiet majesty of sarcophagi and intricately decorated mummies transports visitors to the banks of the Nile.

    For the interior designer or the discerning aesthete, the Leicester Museum & Art Gallery offers more than just educational value; it provides a profound source of inspiration. The museum’s unique ability to harmonize the rugged textures of paleontological finds with the delicate elegance of fine ceramics and the dramatic shadows of Expressionist works makes it a cornerstone of cultural enrichment. It remains a beacon for those who seek to find beauty in the intersection of the ancient and the modern, the scientific and the sublime.

    Loe lähemalt siit

    Leidke seda internetist

    QR-kood, mis viib The Day's End allalaadimislehele

    topimpressionists.com/et/art/download/ernest-procter-the-day-s-end-AQUEHC-en/

    Viige seda teost allintena

    MLA
    Procter, Ernest. The Day's End. 1927, New Walk Museum - Art Gallery. https://topimpressionists.com/et/art/ernest-procter-the-day-s-end-AQUEHC-en/
    APA
    Procter, Ernest (1927). The Day's End [Painting]. New Walk Museum - Art Gallery. https://topimpressionists.com/et/art/ernest-procter-the-day-s-end-AQUEHC-en/
    Chicago
    Ernest Procter. The Day's End. 1927. New Walk Museum - Art Gallery. https://topimpressionists.com/et/art/ernest-procter-the-day-s-end-AQUEHC-en/
    Harvard
    Procter, Ernest (1927) The Day's End. New Walk Museum - Art Gallery. Available at: https://topimpressionists.com/et/art/ernest-procter-the-day-s-end-AQUEHC-en/

    Vaata lähedalt

    The Day's End — Ernest Procter

    Vaata lähemalt

    Vasta oma sõnadega. Siin ei ole vale vastuseid — on vaid vastuseid, mida saad selgitada.

    1. Mis esimesena silma kõige rohkem paneb ja miks?
    2. Millised värvid või kujundid loovad meeleolu — ja milline see meeleolu on?
    3. Vaadake tagasi selle juhendi alguses esitatud teosele Burmese Boy in a Bullock Cart (1925). Tooge kaks asja, mis seda teost sellega ühendavad, ning üks erinevus.
    4. Ernest Procter oli seda teost luues umbes 42 aastane. Mis selles teoses viitab kunstniku sellel kujumisel etapel olnud tööle?
    5. Mida kunstnik võib olla soovinud teile tekitada?

    Teie vastus

    Kirjutage sellest teosest lühike lõik, kasutades selle juhendi varasemate osade fakte ja eelmist annetud vastuseid.

    Korduvad küsimused

    Milline palett ja domineeriv värv määravad teose "The Day's End"?

    Teoses „The Day's End“, autor Ernest Procter on kasutatud Earthy värvipaletti, kus domineerib Gray (#887f6e) värv.

    Kes on teose "The Day's End" kunstnik?

    Teose "The Day's End" looja on Ernest Procter. Teos on kataloogitud nime Ernest Procter all.

    Kas saan näha teose „The Day's End“, autor Ernest Procter röntgenpilti?

    Teose „The Day's End“, autor Ernest Procter Röntgenuuring leht on interaktiivne vaatur, mis võimaldab liikuda läbi teose üheksateist optilise kihti, sealhulgas röntgenlaadunäoga vaadet.