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Mare and Foal

Naam Klas Datum

Robert Polhill Bevan, Mare and Foal (1917). Publiek domein Bekijk dit doek onder bewegend licht: de tekening, de ware kleur onder de vernis, het pure pigment

De feiten

Kunstenaar
Robert Polhill Bevan topimpressionists.com/nl/artists/robert-polhill-bevan_nl/
Geboortedatum en -overlijden kunstenaar
1865 – 1925
Geschilderd
1917
Techniek
Oil On Canvas
Afmetingen origineel werk
56 x 66 cm
Beweging
Post-Impressionism Artists who kept the bright colour of Impressionism but pushed shape and feeling further than the eye really sees.
Periode
Modern
Artistic style
British Modernism
Influences
Pablo Picasso, Ilya Yefimovich Repin
Notable elements or techniques
Bold brushstrokes, vivid colors
Subject or theme
Mother horse and foal in nature

In context

Mare and Foal — Robert Polhill Bevan

Wat zijn de afmetingen?

Het origineel heeft de afmetingen 56 × 66 cm (hoogte × breedte), hier afgebeeld naast een volwassene van gemiddelde lengte.

Wanneer is dit geschilderd?

  1. 1860
  2. 1870
  3. 1880
  4. 1890
  5. 1900
  6. 1910
  7. 1920

Bovenste rij: de jaren. Onderste rij: de leeftijd van de kunstenaar aan het begin en het einde van elke periode — 0 bij de geboorte, 60 bij het overlijden.

Geschilderd toen de kunstenaar 52 jaar oud was. De kunstenaar werd 60 jaar oud. 62 van de 89 gedateerde werken van deze kunstenaar in onze catalogus zijn eerder gemaakt.

Shaded: het leven van Robert Polhill Bevan (1865–1925) ▲ dit werk, 1917 elk gedateerd schilderij, decennium voor decennium

Eerste werken: tot 1907 Belangrijkste werkjaren: 1907–1917 Late werken: vanaf 1917

Deze drie periodes verdelen de werken in deze catalogus in een eerste kwart, een middelste helft en een laatste kwart. Ze vormen niet het volledige oeuvre van de kunstenaar: een dunne periode kan duiden op een hiaat in de verslaglegging in plaats van op een rustige fase. Dezelfde jaren, waarin het leven van de kunstenaar is verweven

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-polhill-bevan-mare-and-foal-8YDF96-en/

Kleurenpalet

Gemeten op basis van de afbeelding

    Hoofdkleur

    Rosy Brown #dca76f

    Gecatalogiseerd palet

    • #DCA76F
    • #1C7E74
    • #231D29
    • #8F401F

    Deze kleuren binnen het volledige palet van de kunstenaar Vind andere schilderijen op kleur

    Palet
    Dark De dominante kleurfamilie in de afbeelding.
    Naam hoofdkleur
    Rosy Brown
    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
    Discordant 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.

    Waar ter wereld wordt naar dit schilderij gekeken?

    • minder dan 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% en meer
    Dit schilderij alleen heeft te weinig geregistreerde bezoekers om in kaart te brengen, dus de plaat toont elk werk van Robert Polhill Bevan over de afgelopen twaalf maanden — in totaal 7 landen. Waar deze cijfers vandaan komen

    De tien belangrijkste landen

    1. 1 China 77,5%
    2. 2 Australië 7,5%
    3. 3 Verenigd Koninkrijk 5,0%
    4. 4 Duitsland 2,5%
    5. 5 Denemarken 2,5%
    6. 6 Frankrijk 2,5%
    7. 7 Verenigde Staten van Amerika 2,5%

    Zoek de drie donkerste landen op de kaart. Bevindt het museum waar dit schilderij wordt bewaard zich in een van deze landen? Noteer één reden waarom mensen van ver zouden kunnen komen om het te bekijken.

    De 20 meest bekeken werken van Robert Polhill Bevan

    1. 1 Cumberland Marker, North Side, 1915 6,8%
    2. 2 De achterkant van het granenhuis, 1904 6,8%
    3. 3 The Chestnut Tree, 1916 4,5%
    4. 4 Ploughing on the Downs, 1906 4,5%
    5. 5 Devonshire Valley, No. 2, 1913 4,5%
    6. 6 Polish Tavern, 1903 4,5%
    7. 7 Onder de Hammer, 1914 4,5%
    8. 8 Het Veld van Doncaster, 1914 4,5%
    9. 9 Ploughing on the Downs, 1907 4,5%
    10. 10 The Chestnut Tree, 1919 4,5%
    11. 11 Morning over the Ploughed Fields, 1904 4,5%
    12. 12 Meadows, Poland 4,5%
    13. 13 From the Artist's Window, 1915 2,3%
    14. 14 Sale at Tattersall's, 1911 2,3%
    15. 15 Devon Cottage, 1920 2,3%
    16. 16 Showing at Tattersall's, 1919 2,3%
    17. 17 Two Bridges, 1912 2,3%
    18. 18 Cumberland Market, North Side, 1912 2,3%
    19. 19 Een Dal in Devonshire, 1913 2,3%
    20. — Mare and Foal, 1917 dit schilderij 0,0%

    Samen maken deze werken 74,7% uit van alle aandacht die de schilderijen van deze kunstenaar in de afgelopen twaalf maanden hebben gekregen. De catalogus bevat 95 werken van deze kunstenaar, waarvan 30 minstens één keer zijn bekeken. Dit schilderij is in die periode nog niet bekeken — het sluit de lijst af zonder rangorde. Hetzelfde geldt voor elke maand

    Staven meten aandacht, niet kwaliteit. Kies het werk bovenaan en dit werk: noem één ding dat een schilderij beroemd zou kunnen maken, los van hoe goed het geschilderd is.

    Over dit kunstwerk

    Mare and Foal — Robert Polhill Bevan

    A Tender Encounter in Color and Light

    In the quietude of 1917, amidst a world often defined by upheaval, Robert Polhill Bevan captured a moment of profound stillness and maternal grace in his masterpiece, Mare and Foal. This exquisite oil on canvas serves as more than just a pastoral scene; it is an intimate window into the heartbeat of the natural world. The composition centers on the tender bond between a mother horse and her young offspring, positioned with a delicate proximity that suggests a shared breath. As the foal nuzzles against its mother, the viewer is drawn into a sanctuary of peace, where the boundaries between animal and environment seem to dissolve into a singular, harmonious existence.

    The painting’s strength lies in its ability to evoke emotion through the masterful application of color and texture. Bevan, a pioneer of British Modernism, moves beyond mere representation to embrace a more expressive language. His use of bold brushstrokes lends a rhythmic vitality to the grass and the sturdy forms of the horses, while his palette—rich with vivid, sun-drenched tones—breathes life into the landscape. The three trees rising in the background do not merely provide depth; they act as silent sentinels, framing the central figures and grounding the scene in a sense of timelessness and permanence.

    The Mastery of Modernist Technique

    To observe Mare and Foal is to witness the intersection of Impressionist light and the burgeoning energy of early 20th-century modernism. Bevan’s technique, honed during his transformative years in Paris, allows him to manipulate the medium of oil on canvas to achieve a remarkable level of luminosity. The way light dances across the coats of the horses and filters through the surrounding greenery demonstrates a sophisticated understanding of shadow and atmosphere. This interplay of light creates a tactile quality, where one can almost feel the softness of the foal's coat and the sturdy weight of the mare.

    For the discerning collector or interior designer, this piece offers a rare balance of structural strength and emotional warmth. The painting’s composition is balanced yet dynamic, making it an ideal focal point for spaces that require a sense of calm sophistication. Unlike more chaotic modern works, Bevan’s approach in this period retains a classical reverence for subject matter while utilizing a contemporary, expressive hand. It is a work that invites the eye to linger, rewarding repeated viewings with new discoveries of color nuance and textural depth.

    A Timeless Legacy for the Modern Interior

    Beyond its aesthetic brilliance, Mare and Foal carries a symbolic weight that resonates across generations. The theme of maternal protection and the innocence of youth are universal, making the artwork deeply relatable to any viewer. In an era where art is often used to define the character of a home, this reproduction offers an infusion of serenity and organic beauty. It brings the restorative power of nature indoors, acting as a bridge between the wild, untamed world and the curated elegance of a contemporary living space.

    Whether placed in a sunlit gallery or a quiet study, the painting serves as a testament to the enduring power of the natural bond. It stands alongside the works of great innovators like Picasso and Repin, not merely as a depiction of animals, but as an exploration of life's most fundamental rhythms. For those seeking to invest in art that inspires contemplation and provides a sense of groundedness, Bevan’s 1917 triumph remains an incomparable choice—a soulful fragment of history captured in vibrant, everlasting oil.

    Kunstenaar en museum

    Kunstenaar

    Robert Polhill Bevan

    Geboren in Hove, Verenigd Koninkrijk

    A Pioneer of British Modernism: The Life and Art of Robert Polhill Bevan

    Robert Polhill Bevan, born in Hove in 1865, occupies a pivotal yet often understated position within the narrative of early 20th-century British art. Emerging from a Quaker background steeped in banking connections – his parents were Richard Alexander Bevan and Laura Maria Polhill – he defied conventional expectations to become a daring innovator, a key figure in the transition from Impressionism towards more radical explorations of color and form. His journey was one of constant experimentation, absorbing influences from across Europe while forging a distinctly personal artistic vision that would profoundly impact the development of modern art in Britain. Bevan’s early education at Westminster School of Art under Fred Brown provided a solid foundation, but it was his subsequent studies at the Académie Julian in Paris that truly ignited his creative spark. There, he encountered a constellation of rising stars – Paul Sérusier, Pierre Bonnard, Édouard Vuillard, and Maurice Denis – artists who were challenging academic conventions and embracing new approaches to painting. These encounters proved formative, exposing Bevan to the principles of synthetism and laying the groundwork for his future explorations.

    Brittany, Fauvism, and the Search for Pure Color

    The impact of Brittany on Bevan’s artistic development cannot be overstated. Two significant journeys in 1890 and 1891 immersed him in the atmosphere of Pont-Aven, a small coastal town that had become a magnet for artists seeking an alternative to Parisian salon culture. The bold colors and simplified forms championed by artists like Gauguin resonated deeply with Bevan, influencing his early drawings and prints. He was particularly drawn to the luminous landscapes of Breton Brittany, where he sought inspiration from the Impressionists’ techniques but pushed beyond mere replication—aiming instead for a more expressive portrayal of light and atmosphere. The influence of Gauguin's uncompromising vision – prioritizing emotional impact over meticulous detail – is palpable in Bevan’s early works, demonstrating his willingness to embrace stylistic departures from established traditions. Around 1904, Bevan embarked on a path of experimentation with pure color that anticipated the emergence of Fauvism on the continent. His painting “Courtyard” stands as a remarkable example of this proto-Fauvist approach, demonstrating a willingness to abandon naturalistic representation in favor of expressive chromatic intensity – a boldness that set him apart from many of his British contemporaries. This exploration didn’t remain static; Bevan subsequently adopted a divisionist or pointillist technique, evident in works like “Ploughing on the Downs” and “The Turn-Rice Plough,” showcasing his commitment to exploring different methods of applying color and capturing light. The vibrant hues he employed—particularly yellows and reds—were deliberately chosen to convey emotion rather than accurately depict reality, aligning him with the burgeoning movement spearheaded by Matisse and Kandinsky.

    Collective Visions: The Camden Town Group and Beyond

    Bevan was not an artist who worked in isolation. He actively sought connection with like-minded individuals, playing a crucial role in the formation of several influential art groups. As a founding member of the Camden Town Group, he joined forces with artists determined to depict modern urban life and challenge established artistic norms. This collective spirit extended to his involvement with the London Group and the Cumberland Market Group, further demonstrating his commitment to progressive artistic movements. The group’s aim was to capture the dynamism of London's industrial landscape—a stark contrast to the idealized depictions favored by academic painters—and Bevan championed a bold visual language that prioritized expressive color and simplified forms. He collaborated closely with Walter Sickert and Frank Auerbach, fostering an environment of intellectual exchange and artistic experimentation. This collaborative spirit wasn’t merely social; it fueled his creative process and contributed to the broader evolution of British art during this transformative period.

    Landscapes, Urban Scenes, and Lasting Legacy

    While Bevan’s subject matter was diverse – encompassing portraits depicting prominent figures of his time and capturing scenes from everyday life—he is perhaps best known for his landscapes. His paintings of Sussex and Brittany are imbued with a vibrant energy, capturing the essence of rural life through expressive brushwork and bold color palettes. Works like “In the Downs near Lewes,” “The Chestnut Tree,” and “Landscape in the Blackdown Hills, Devon” exemplify this mastery, showcasing his ability to convey both the physical beauty and emotional resonance of the natural world. Bevan’s technique—characterized by meticulous observation combined with a deliberate simplification of form—was influenced by masters such as Velázquez and Goya, who prioritized capturing psychological depth over photographic accuracy. He skillfully employed divisionist techniques – applying dots of color to create textured surfaces—to achieve remarkable effects of light and atmosphere, mirroring the innovations championed by Monet and Sisley. Robert Polhill Bevan’s legacy extends far beyond his individual paintings. He is rightfully recognized as a pioneer of modern British art, particularly for his early adoption of Fauvist principles and his fearless experimentation with color. His influence on subsequent generations of painters is undeniable, and his contribution to the Camden Town Group was instrumental in shaping the development of modern art in Britain. A retrospective exhibition at Colnaghi’s in 1961 served as a crucial moment of recognition, solidifying his place in art history and ensuring that his innovative spirit continues to inspire artists today. He remains a vital figure for understanding the complex evolution of British painting in the early twentieth century.

    Lees meer op

    Online beschikbaar

    QR-code die linkt naar de downloadpagina van Mare and Foal

    topimpressionists.com/nl/art/download/robert-polhill-bevan-mare-and-foal-8YDF96-en/

    Bronvermelding voor dit kunstwerk

    MLA
    Bevan, Robert Polhill. Mare and Foal. 1917, https://topimpressionists.com/nl/art/robert-polhill-bevan-mare-and-foal-8YDF96-en/
    APA
    Bevan, Robert Polhill (1917). Mare and Foal [Painting]. https://topimpressionists.com/nl/art/robert-polhill-bevan-mare-and-foal-8YDF96-en/
    Chicago
    Robert Polhill Bevan. Mare and Foal. 1917. https://topimpressionists.com/nl/art/robert-polhill-bevan-mare-and-foal-8YDF96-en/
    Harvard
    Bevan, Robert Polhill (1917) Mare and Foal. Available at: https://topimpressionists.com/nl/art/robert-polhill-bevan-mare-and-foal-8YDF96-en/

    Bekijk het van dichtbij

    Mare and Foal — Robert Polhill Bevan

    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: horse, foal, nature. Bent u het hiermee eens? Wat zou u toevoegen of weglaten?
    4. Kijk nog eens naar The Chestnut Tree (1916), eerder in deze gids. Noem twee overeenkomsten met dit werk en één verschil.
    5. Post-Impressionism: Artists who kept the bright colour of Impressionism but pushed shape and feeling further than the eye really sees. 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.

    Vragen & Antwoorden

    Kan ik "Mare and Foal" door Robert Polhill Bevan onder ander licht bekijken?

    De röntgenweergave van "Mare and Foal" door Robert Polhill Bevan is te vinden op de Röntgenanalyse-pagina van het kunstwerk: een interactieve verkenning van het beeld door middel van elf optische lagen.

    Is een download met hoge resolutie van "Mare and Foal" beschikbaar?

    Een digitale afbeelding van "Mare and Foal" door Robert Polhill Bevan kan worden aangeschaft op de Digitale afbeelding pagina: een download van een digitale afbeelding in hoge resolutie.

    Hoe is "Mare and Foal" historisch gezien gepositioneerd?

    Historisch gezien is "Mare and Foal" een Post-Impressionism werk uit de bredere Modern tijdperk.