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Gids voor studentenkunst

Tea Landscape

Naam Klas Datum

robert maclaurin, Tea Landscape (1989). Reproduceerd ter referentie; alle rechten voorbehouden aan de auteursrechthebbende.

De feiten

Kunstenaar
robert maclaurin topimpressionists.com/nl/artists/robert-maclaurin/
Geboortedatum en -overlijden kunstenaar
1965 – ?
Geschilderd
1989
Afmetingen origineel werk
152 x 168 cm
Beweging
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.

In context

Tea Landscape — robert maclaurin

Wat zijn de afmetingen?

Het origineel heeft de afmetingen 152 × 168 cm (hoogte × breedte), hier afgebeeld naast een volwassene van gemiddelde lengte.

Wanneer is dit geschilderd?

  1. 1960
  2. 1970
  3. 1980

Shaded: het leven van robert maclaurin (1965–?) ▲ dit werk, 1989

Vergelijkbare werken

Kies een van de bovenstaande werken: noem twee overeenkomsten met dit werk en één verschil.

Meer werken om naast dit werk te plaatsen: topimpressionists.com/nl/art/similar/robert-maclaurin-tea-landscape-ARALEE-en/

Kleurenpalet

Gemeten op basis van de afbeelding

    Hoofdkleur

    Gray #7a8850

    Gecatalogiseerd palet

    • #7A8850
    • #B4BE97
    • #4D5919
    • #6E7912
    Palet
    Dark De dominante kleurfamilie in de afbeelding.
    Naam hoofdkleur
    Gray
    Intensiteit
    Vivid De mate van verzadiging en variatie in de kleuren, variërend van een enkele ingetogen tint tot vele heldere kleuren.
    Contrast
    Gentle De mate waarin de kleuren in helderheid en verzadiging variëren over het gehele kunstwerk.
    Harmonie
    Unified Palette De mate waarin de kleuren samensmelten, van contrasterend tot volledig harmonieus.
    Helderheid
    Balanced Hoe licht of donker het beeld in zijn geheel oogt, van diepe schaduw tot helder hoogtepunt.
    Verzadiging
    Clear Color Presence Hoe puur en krachtig de kleuren zijn, van bijna grijs tot volledig levendig.

    Kunstenaar en museum

    Kunstenaar

    robert maclaurin

    Robert MacLaurin: A Landscape of Memory and Light

    Born in Yorkshire, England, in 1961, Robert MacLaurin’s artistic journey is a compelling narrative of shifting landscapes – both geographical and emotional. His early years were steeped in the traditions of British art, nurtured under the guidance of Arnold Balmer at Woodleigh School, an experience that instilled a foundational appreciation for observation and technique. However, it was his time at Edinburgh College of Art that truly ignited his creative spirit, culminating in a distinguished diploma and laying the groundwork for a career marked by a distinctive, layered style.

    MacLaurin’s artistic development is inextricably linked to the vibrant art scene of 1980s Edinburgh. He became part of a collective centered around the 369 Gallery, a crucible where artists like Fionna Carlisle, June Redfern, and Ian Hughes explored themes of identity, memory, and the relationship between landscape and self. This environment fostered experimentation and collaboration, pushing MacLaurin to refine his approach while retaining a deeply personal voice. The influence of this period is evident in his early works – characterized by a meticulous attention to detail and a subtle exploration of light and shadow.

    A pivotal moment arrived with the award of the Sir Robert Menzies Fellowship in 1995, granting MacLaurin the opportunity to reside and work in Castlemaine, Victoria, Australia. This move marked a profound shift, not just geographically but also stylistically. The vast, open landscapes of Australia – their dramatic light, rugged terrain, and sense of timelessness – became central to his artistic vision. He began to translate these experiences onto canvas with increasing boldness, employing a technique that blends meticulous observation with an expressive use of color and texture. His paintings are not merely representations of place; they are imbued with the memory of experience, capturing the essence of a specific moment in time.

    The Evolution of Technique

    MacLaurin’s artistic process is characterized by a deliberate layering of paint – often applied in thin glazes that build up over time to create a luminous surface. This technique, combined with his masterful control of color and light, results in paintings that possess an extraordinary depth and atmosphere. He frequently works en plein air, directly from nature, allowing him to capture the fleeting qualities of sunlight and shadow. However, he also spends considerable time in his studio, meticulously reworking his studies and refining his compositions.

    His palette is typically restrained – dominated by earthy tones, muted blues, and subtle greens – yet he masterfully manipulates these colors to evoke a wide range of emotions. He’s not afraid to use bold strokes or unexpected color combinations to create visual impact, but always with a sense of restraint and control. The influence of Scottish landscape painting is palpable in his work, particularly the traditions of artists like Peter De Wint, yet MacLaurin has forged his own unique style – one that is both deeply rooted in tradition and strikingly contemporary.

    Major Achievements and Recognition

    MacLaurin’s artistic achievements have been widely recognized throughout his career. He received the Noble Grossart Scottish Painting Prize in 1998, a prestigious award recognizing outstanding contributions to the visual arts. His work has been exhibited extensively in galleries across Scotland, Australia, and Europe, including the prestigious Berkeley Square Gallery in London. His paintings are held in prominent collections, including those of the City of Edinburgh Council, National Galleries of Scotland, and The Fleming Collection.

    In 2005, he was awarded the John Farrell Self Portrait Award at Castlemaine Art Museum, a testament to his self-awareness as an artist and his ability to explore complex themes through the medium of portraiture. His work has been featured in numerous publications and art magazines, solidifying his reputation as one of Scotland’s leading contemporary landscape painters.

    A Legacy of Observation

    Robert MacLaurin's legacy extends beyond the individual paintings that grace gallery walls and private collections. He represents a commitment to careful observation, a deep respect for tradition, and an unwavering pursuit of artistic excellence. His work invites viewers to slow down, to contemplate the beauty of the natural world, and to connect with their own memories and experiences. Through his evocative landscapes, MacLaurin offers not just images but also a profound sense of place – a testament to the enduring power of art to capture the essence of life.

    Further Exploration

    For more information about Robert MacLaurin’s work, please visit his website: http://www.robertmaclaurin.com/

    Lees meer op

    Online beschikbaar

    QR-code die linkt naar de downloadpagina van Tea Landscape

    topimpressionists.com/nl/art/download/robert-maclaurin-tea-landscape-ARALEE-en/

    Bronvermelding voor dit kunstwerk

    MLA
    maclaurin, robert. Tea Landscape. 1989, https://topimpressionists.com/nl/art/robert-maclaurin-tea-landscape-ARALEE-en/
    APA
    maclaurin, robert (1989). Tea Landscape [Painting]. https://topimpressionists.com/nl/art/robert-maclaurin-tea-landscape-ARALEE-en/
    Chicago
    robert maclaurin. Tea Landscape. 1989. https://topimpressionists.com/nl/art/robert-maclaurin-tea-landscape-ARALEE-en/
    Harvard
    maclaurin, robert (1989) Tea Landscape. Available at: https://topimpressionists.com/nl/art/robert-maclaurin-tea-landscape-ARALEE-en/

    Bekijk het van dichtbij

    Tea Landscape — robert maclaurin

    Kijk eens goed

    Beantwoord de vragen in je eigen woorden. Er zijn hier geen foute antwoorden — alleen antwoorden die je kunt toelichten.

    1. Wat valt u als eerste op, en waarom?
    2. Welke kleuren of vormen bepalen de sfeer — en wat is die sfeer?
    3. In onze catalogus is dit werk geclassificeerd onder: abstract landscape, green texture art, organic forms. Bent u het hiermee eens? Wat zou u toevoegen of weglaten?
    4. Kijk nog eens naar Hills (Tepeler) (1991), eerder in deze gids. Noem twee overeenkomsten met dit werk en één verschil.
    5. Abstract Expressionism: Large canvases where the act of painting itself — the drip, the sweep — is the subject. Waar is dat in dit werk te zien?

    Uw reactie

    Schrijf een korte paragraaf over dit kunstwerk aan de hand van de feiten uit de eerdere delen van deze gids en uw bovenstaande antwoorden.