Papir

Veiledning for studentkunst

Corner Table

Navn Klasse Dato

John Maxwell, Corner Table, The Fleming Collection. Gjengitt i illustrasjonsøyemed; alle rettigheter forbeholdt rettighetshaver. Se dette lerretet i bevegelig lys: tegningen, den sanne fargen under fernissen, det rene pigmentet

Fakta om verket

Kunstner
John Maxwell topimpressionists.com/no/artists/john-maxwell/
Kunstnerens levetid
1947 – 1962
Opprinnelig størrelse
61 x 46 cm
Arrangert på
The Fleming Collection topimpressionists.com/no/museums/the-fleming-collection-london/

I sammenheng med

Corner Table — John Maxwell

Hvor stort er det?

Originalen måler 61 × 46 cm (høyde × bredde), vist her ved siden av en voksen person med gjennomsnittlig høyde.

Når kan dette ha blitt malt?

  1. 1940
  2. 1950
  3. 1960

Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 15 ved død.

Skyggelagt: livsløpet til John Maxwell (1947–1962) hvert daterte maleri, tiår for tiår

Dette opptaket har ikke et nøyaktig årstall registrert — basert på kunstnerens levetid og verkets stil, hvilket tiår vil du gjette på?

Sammenlign med

Velg ett av verkene ovenfor: nevn to ting det har til felles med dette, og én ting som er annerledes.

Flere verk som kan stå ved siden av dette: topimpressionists.com/no/art/similar/john-maxwell-corner-table-AQUFJL-en/

Farger

Målt ut fra bilde

    Dominerende farge

    Driftwood #849b4b

    Katalogisert palett

    • #849B4B
    • #132B1A
    • #1B663B
    • #585E15

    Disse fargene i kunstnerens komplette palett Finn andre malerier etter farge

    Fargepalett
    Dark Den dominerende fargefamilien i bildet.
    Hovedfarge
    Driftwood
    Intensitet
    Vivid Hvor mettede og varierte fargene er, fra en enkelt dempet nyanse til mange klare toner.
    Kontrast
    Gentle Hvor mye fargene varierer i lyshet og metning over hele bildet.
    Harmoni
    Balanced Harmony Hvor godt fargene fungerer sammen, fra kontrastfylt til fullstendig harmonisk.
    Lysstyrke
    Shadow Hvor lyst eller mørkt bildet fremstår totalt sett, fra dype skygger til lyse høylys.
    Metning
    Clear Color Presence Hvor rene og sterke fargene er, fra nesten grått til helt livlige.

    Hvor i verden kan dette maleriet sees?

    • lavere enn 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og mer
    Dette maleriet alene har for få registrerte besøkende til å kunne kartlegges, så oversikten viser alle verk av John Maxwell i løpet av de siste tolv månedene — totalt 2 land. Kilde for disse tallene

    De ti ledende landene

    1. 1 China 66.7%
    2. 2 Storbritannia 33.3%

    Finn de tre mørkeste landene på kartet. Ligger museet som huser dette maleriet i noen av dem? Skriv ned én grunn til at folk langt unna kan ønske å se det.

    De 4 mest viste verkene av John Maxwell

    1. 1 Falling Vase, 1941 33.3%
    2. 2 Harbour with Three Boats, 1934 33.3%
    3. 3 Landscape with Houses and Ancient Bridge, 1934 33.3%
    4. — Corner Table dette maleriet 0.0%

    Sammen utgjør disse verkene 99.9% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 15 verk av denne kunstneren, hvorav 3 ble sett på minst én gang. Dette maleriet har ennå ikke blitt vist i denne perioden – det avslutter listen uten en rangering. Det samme gjelder, måned for måned

    Søylene måler oppmerksomhet, ikke kvalitet. Velg verket øverst og dette: nevn én ting som kan gjøre et maleri berømt, utover hvor godt det er malt.

    Kunstner og museum

    Kunstner

    John Maxwell

    John Maxwell: A Visionary of Colour and Form

    The artistic legacy of John Maxwell (1905-1962) is a profound testament to the power of light, texture, and emotional resonance. Born in the rugged, spiritual landscape of Roanoke, Virginia, Maxwell’s early life was deeply influenced by his father, Reverend John Maxwell Sr., a clergyman whose presence instilled in the young artist an appreciation for both the beauty of the natural world and the solemnity of contemplative thought. This duality—the ability to see the divine within the mundane—would become the cornerstone of his creative vision. After honing his technical skills at the prestigious Corcoran School and the Art Students League, Maxwell embarked on a career that would bridge the gap between commercial illustration and fine art, capturing the literary essence of giants such as Pearl Buck, Edna Ferber, and John Steinbeck with unparalleled sensitivity.

    As his career matured, Maxwell found himself at the heart of a transformative era in modern art. His journey became inextricably linked with the burgeoning Edinburgh School movement, a collective that sought to redefine Scottish painting through bold experimentation. Influenced by the vibrant palettes of Oskar Kokoschka and the raw, expressive energy of German Expressionists like Ernst Ludwig Kirchner and Emil Nolde, Maxwell developed a style that was both structurally sound and emotionally fluid. He did not merely imitate these masters; rather, he synthesized their lessons into a unique aesthetic language. His work began to dance between the boundaries of reality and abstraction, drawing inspiration from the dreamlike imagery of Marc Chagall and the geometric precision of Paul Klee.

    The Lyrical Language of Stillness and Light

    Maxwell’s oeuvre is most celebrated for its intimate exploration of still lifes and landscapes, works that serve as lyrical meditations on the passage of time. In his still lifes, one finds a meticulous arrangement of flora, fruit, and drapery, all seemingly suspended in a moment of eternal grace. He possessed a rare ability to use glazing techniques to create luminous, translucent surfaces that appear to glow from within, much like the innovations seen in the works of Fernand Léger or Piet Mondrian. These compositions are rarely static; instead, they are imbued with a sense of movement through the play of diffused sunlight and the subtle interplay of shadow.

    His landscapes and interiors further reflect this mastery of atmosphere. By incorporating stylized trees and abstracted geometric shapes, Maxwell subtly echoed the principles of Constructivism and Cubism, lending his natural scenes a structured, almost architectural quality. This marriage of organic form and geometric abstraction allowed him to depict the world not just as it appears to the eye, but as it is felt by the soul. His paintings often evoke a sense of profound tranquility, inviting the viewer into a space where the boundaries between the physical environment and the internal psyche begin to dissolve.

    Historical Significance and Artistic Legacy

    The significance of John Maxwell lies in his ability to navigate the complex currents of 20th-century modernism while maintaining a deeply personal, emotive core. He stood at a crossroads where the traditions of representational painting met the radical shifts of the avant-garde. Through his work, the heavy textures of Expressionism and the structural rigor of abstraction were softened by a uniquely Scottish sensibility—one that prioritized light, color, and a quiet, observant beauty.

    Today, Maxwell is remembered as a pivotal figure whose works continue to resonate with collectors and scholars alike. His contributions to the Edinburgh School helped cement a period of immense creativity in British art, leaving behind a body of work that remains:

    A masterclass in color theory, utilizing vibrant hues to evoke complex emotional states.

    An exploration of light, where sunlight acts as a transformative element within the composition.

    A bridge between eras, connecting the illustrative traditions of the early century with the abstract movements that followed.

    His canvases remain windows into a world of quiet wonder, reminding us that even the simplest subject, when viewed through the lens of a master, can reveal the infinite.

    Museum

    The Fleming Collection

    Utstilt i London, United Kingdom

    A Legacy of Scottish Spirit: The Fleming Collection

    In the bustling heart of London, far removed from the traditional confines of brick-and-mortar institutions, exists a masterpiece of curation known as

    The Fleming Collection

    . It is not merely a repository of objects, but a living, breathing celebration of Scotland’s profound artistic heritage. This extraordinary assembly of over 600 works serves as a bridge between the rugged landscapes of the north and the cosmopolitan energy of the capital. What began in 1968 as a corporate endeavor to adorn the walls of the Dundee-founded banking firm, Robert Fleming & Co., has blossomed into a "museum without walls." Through a strategic model of touring exhibitions and prestigious loans across the United Kingdom and Europe, the collection defies geographical boundaries, ensuring that the vibrant pulse of Scottish creativity reaches an international audience.

    The soul of the collection is rooted in a singular, visionary mandate established by David Donald, the bank's first Director of Art Acquisitions. His guiding principle was as poetic as it was precise: every acquisition must either be created by a Scottish artist or depict a scene of Scotland, regardless of the painter's origin. This focus allowed for the amassing of a breathtaking breadth of history, ranging from the refined 18th-century portraiture of

    Allan Ramsay

    and

    Henry Raeburn

    to the revolutionary energy of the 20th century. For collectors and interior designers alike, the collection offers an unparalleled study in texture and light, where the somber dignity of classical masters meets the radical, sun-drenched palettes of the modern era.

    From Corporate Walls to Global Stages

    The history of The Fleming Collection is a narrative of preservation and passion. Following the unexpected passing of David Donald in 1985, the stewardship of this artistic treasure fell to Robert Fleming and Bill Smith, who deepened the collection's focus on living Scottish artists. A pivotal moment arrived in 2000 with the establishment of The Fleming-Wyfold Art Foundation, a move that secured the collection’s future and allowed it to transition from a private corporate asset into a public cultural beacon. While the beloved Berkeley Street Gallery served as its London home for many years, the collection has since embraced a more dynamic existence, traveling through prestigious galleries and international institutions to foster a deeper global appreciation for British art history.

    To wander through the thematic landscapes of the collection is to witness the evolution of Scottish identity. One might find themselves captivated by the

    Glasgow Boys

    —artists such as

    Arthur Melville

    and

    James Guthrie

    —whose bold experimentation broke the shackles of tradition. This spirit of rebellion flows seamlessly into the works of the

    Scottish Colourists

    , including the legendary

    Samuel John Peploe

    and

    Francis Campbell Boileau Cadell

    , whose vibrant, almost impressionistic use of color continues to inspire contemporary aesthetics. The collection’s reach even extends into the contemporary wing, where the works of

    Joan Eardley

    and

    Elizabeth Blackadder

    push the boundaries of expression, proving that the Scottish artistic narrative is far from a closed chapter.

    An Inspiration for the Modern Eye

    For the discerning eye of an interior designer or the passionate heart of an art lover, The Fleming Collection offers more than just historical insight; it offers a masterclass in atmosphere. The collection’s ability to blend the monumental with the intimate—exemplified by standout pieces like Helen Flockhart’s

    “Lemons Dripping”

    —provides endless inspiration for creating spaces that feel both storied and fresh. It is this unique duality, the marriage of deep-rooted tradition with a forward-looking, nomadic spirit, that makes The Fleming Collection a singular force in the art world. It remains a testament to the idea that art is not something to be kept behind closed doors, but something to be shared, moved, and experienced across the horizons of the modern world.

    Les mer her

    Se mer på nett

    QR-kode som lenker til nedlastingssiden for Corner Table

    topimpressionists.com/no/art/download/john-maxwell-corner-table-AQUFJL-en/

    Kildehenvisning for dette kunstverket

    MLA
    Maxwell, John. Corner Table. n.d., The Fleming Collection. https://topimpressionists.com/no/art/john-maxwell-corner-table-AQUFJL-en/
    APA
    Maxwell, John (n.d.). Corner Table [Painting]. The Fleming Collection. https://topimpressionists.com/no/art/john-maxwell-corner-table-AQUFJL-en/
    Chicago
    John Maxwell. Corner Table. n.d. The Fleming Collection. https://topimpressionists.com/no/art/john-maxwell-corner-table-AQUFJL-en/
    Harvard
    Maxwell, John (n.d.) Corner Table. The Fleming Collection. Available at: https://topimpressionists.com/no/art/john-maxwell-corner-table-AQUFJL-en/

    Se nærmere på

    Corner Table — John Maxwell

    Se nærmere etter

    Svar med egne ord. Det finnes ingen feil svar her – bare svar du kan forklare.

    1. Hva fanger blikket ditt først, og hvorfor?
    2. Hvilke farger eller former skaper stemningen – og hva er den stemningen?
    3. Se tilbake på Red Ballet (1938), tidligere i denne guiden. Nevn to ting det har til felles med dette verket, og én ting som er annerledes.
    4. Hva kan kunstneren ha ønsket at du skulle føle?
    5. Hvis du kunne stilt kunstneren ett spørsmål om dette verket, hva ville det vært?

    Ditt svar

    Skriv et kort avsnitt om dette kunstverket. Bruk informasjonen fra de tidligere delene av denne guiden og svarene dine ovenfor.

    Spørsmål og svar

    Hvilken farge dominerer i "Corner Table"?

    Den dominerende fargen i "Corner Table" av John Maxwell er Driftwood (#849b4b).

    Hvilke proporsjoner har "Corner Table" av John Maxwell, og hva er målene?

    Formatet på "Corner Table" er Portrait, og originalen måler 61 x 46 cm. Begge deler er nyttige når man planlegger en reproduksjon.

    Kan "Corner Table" av John Maxwell, som er en del av samlingen til The Fleming Collection, reproduseres lovlig?

    "Corner Table" av John Maxwell, som er en del av samlingen til The Fleming Collection, er fortsatt beskyttet av opphavsretten. Denne statusen avgjør om det er tillatt å lage reproduksjoner av bildet.