Papir

Veiledning for studentkunst

William Axtell

Navn Klasse Dato

John Wollaston, William Axtell (1749). Fritatt for opphavsrett. Se dette lerretet i bevegelig lys: tegningen, den sanne fargen under fernissen, det rene pigmentet

Fakta om verket

Kunstner
John Wollaston topimpressionists.com/no/artists/john-wollaston/
Kunstnerens levetid
1742 – 1775
Malt
1749
Opprinnelig størrelse
127 x 102 cm

I sammenheng med

William Axtell — John Wollaston

Hvor stort er det?

Originalen måler 127 × 102 cm (høyde × bredde), vist her ved siden av en voksen person med gjennomsnittlig høyde.

Når ble dette malt?

  1. 1740
  2. 1750
  3. 1760
  4. 1770

Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 33 ved død.

Malt da kunstneren var 7. Kunstneren ble 33 år gammel. 0 av de 3 daterte verkene av denne kunstneren i vår katalog ble laget tidligere.

Skyggelagt: livsløpet til John Wollaston (1742–1775) ▲ dette verket, 1749 hvert daterte maleri, tiår for tiår

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-wollaston-william-axtell-D2XPYC-en/

Farger

Målt ut fra bilde

    Dominerende farge

    Espresso #47381e

    Katalogisert palett

    • #47381E
    • #1F1712
    • #A78E7B
    • #6A5C44

    Disse fargene i kunstnerens komplette palett Finn andre malerier etter farge

    Fargepalett
    Earthy Den dominerende fargefamilien i bildet.
    Hovedfarge
    Espresso
    Intensitet
    Monochromatic 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
    Strong Color Unity Hvor godt fargene fungerer sammen, fra kontrastfylt til fullstendig harmonisk.
    Lysstyrke
    Deep_shadow Hvor lyst eller mørkt bildet fremstår totalt sett, fra dype skygger til lyse høylys.
    Metning
    Subtle Color 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 Wollaston i løpet av de siste tolv månedene — totalt 4 land. Kilde for disse tallene

    De ti ledende landene

    1. 1 China 66.7%800 visits
    2. 2 United States of America 16.7%200 visits
    3. 3 Portugal 8.3%100 visits
    4. 4 Singapore 8.3%100 visits

    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 12 mest viste verkene av John Wollaston

    1. 1 Sir Theodore Turquet de Mayerne (1573–1655), 1734 15.4%200 visits
    2. 2 Cadwallader Colden, 1749 15.4%200 visits
    3. 3 Sir William Johnson (1715-1774), 1752 7.7%100 visits
    4. 4 Captain Samuel Hood (1724–1816), 1748 7.7%100 visits
    5. 5 Judith Smith (Mrs. James Ladson), 1767 7.7%100 visits
    6. 6 Portrait of General Staats Long Morris 7.7%100 visits
    7. 7 Alderman David Wharam, Mayor of Rochester (1744), 1740 7.7%100 visits
    8. 8 Thomas Sydenham (1624–1689) 7.7%100 visits
    9. 9 Francis Glisson (1599 –1677) 7.7%100 visits
    10. 10 Mrs. Joseph Reade, 1749 7.7%100 visits
    11. 11 Joseph Reade, 1749 7.7%100 visits
    12. — William Axtell, 1749 dette maleriet 0.0%0 visits

    Sammen utgjør disse verkene 100.0% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 32 verk av denne kunstneren, hvorav 11 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.

    Om dette kunstverket

    William Axtell — John Wollaston

    Wollaston’s arrival in New York from London in 1749 introduced to the colonies a new style of portraiture characterized by rich, brightly colored fabrics and sprightly, informal poses. The prominent West Indian merchant William Axtell (1720–1795) ordered this portrait for the larger of his two New York homes: the country place called Melrose Hall in Flatbush, Long Island (now Brooklyn). During the Revolutionary War, Axtell was commissioned by the British as a colonel for the corps of Long Island Loyalists. His American holdings were confiscated in 1784, after he fled New York for England.

    Kunstner og museum

    Kunstner

    John Wollaston

    The Elegance of the Atlantic: The Life and Legacy of John Wollaston

    In the mid-eighteenth century, as the American colonies began to stir with a burgeoning sense of identity, a sophisticated breeze from London arrived on their shores, carried by the brush of John Wollaston. A painter of profound grace and technical finesse, Wollaston stands as a singular figure in the annals of American art history—a British master who irrevocably shaped the aesthetic landscape of the colonies. While later giants like Benjamin West and Gilbert Stuart would command the spotlight of American portraiture, Wollaston’s true contribution lies in his role as a pioneer, introducing the delicate elegance and shimmering sophistication of the Rococo style to North America. He was more than a mere chronicler of faces; he was an ambassador of European refinement, marking one of the first instances where a truly continental artistic movement flourished across the Atlantic.

    The early life of Wollaston remains shrouded in the soft mists of history, leaving much to the imagination of scholars. Born in London, he was likely the scion of a painter, though the records of his lineage are famously contested. Some accounts identify his father as John Wollaston, while others, drawing from the witty anecdotes of Horace Walpole, suggest the name was originally Woolston—a change made to mirror the era's aristocratic trend of adopting more prestigious titles. While his formal training is not documented in detail, the evidence of his skill is undeniable. The letters of Charles Willson Peale hint that Wollaston studied the intricate art of drapery with a London master, a specialty that would become his hallmark. Whether he was mentored by his father or influenced by the celebrated drapery painter Joseph van Aken, Wollaston emerged with a command over fabric and light that mirrored the finest talents of the British Rococo tradition.

    A Vision of Rococo Splendor

    Wollaston’s artistic identity was deeply rooted in the English Rococo, a style characterized by its lightness, grace, and an almost tactile obsession with texture. His work bears an unmistakable resemblance to the portraits of Thomas Hudson and Allan Ramsay, capturing not just the likeness of his subjects but the very essence of their social standing. He possessed a remarkable ability to render the heavy sheen of silk, the delicate lace of a collar, and the complex folds of velvet, creating a visual language of luxury that captivated the colonial elite. This mastery of drapery was not merely decorative; it served to imbue his subjects with a sense of movement and vitality, making the static medium of portraiture feel alive and breathing.

    His journey across the Atlantic in 1749 marked a transformative chapter for both the artist and the colonies. Settling initially in New York City, Wollaston began a nomadic period of intense creativity, traveling along the Atlantic seaboard to bring the latest London fashions to American patrons. His presence fostered a burgeoning artistic dialogue between Britain and its colonies, establishing a precedent for stylistic experimentation that would resonate through subsequent generations. Despite his travels, Wollaston remained profoundly connected to his English roots. This steadfast identity is poignantly captured in the inscription on the back of his portrait of William Smith, Jr., where he identified himself as "Johnannes Wollaston Londoniensis," a proud declaration of his London origins amidst the American wilderness.

    Historical Significance and Lasting Impact

    Though his life was tragically short, ending in 1775, the impact of John Wollaston’s career remains etched in the history of early American art. He provided the colonial upper class with a visual mirror that reflected their aspirations toward European sophistication. His ability to translate the high fashion of London into the colonial context allowed for a shared cultural vocabulary between the Old and New Worlds. The following elements define his enduring historical footprint:

    Introduction of Rococo: He was instrumental in transplanting the light, ornamental, and fabric-rich Rococo style from Europe to the American colonies.

    Technical Mastery: His specialized skill in rendering drapery set a new standard for portraiture in North America, influencing the way texture and light were perceived by future generations of painters.

    Cultural Bridge: Through his travels from New York through the southern colonies, he acted as a vital link in the transmission of European aesthetic values to the burgeoning American landscape.

    Foundational Influence: By establishing a precedent for high-style portraiture, he paved the way for the later development of a distinctively American school of painting.

    Today, when we look upon the works attributed to Wollaston, we see more than just portraits of the colonial past; we see the arrival of an era of elegance. His brush captured a moment in time when the colonies were beginning to dream of grandeur, and through his art, that dream was rendered in silk, lace, and light.

    Les mer her

    Se mer på nett

    QR-kode som lenker til nedlastingssiden for William Axtell

    topimpressionists.com/no/art/download/john-wollaston-william-axtell-D2XPYC-en/

    Kildehenvisning for dette kunstverket

    MLA
    Wollaston, John. William Axtell. 1749, https://topimpressionists.com/no/art/john-wollaston-william-axtell-D2XPYC-en/
    APA
    Wollaston, John (1749). William Axtell [Painting]. https://topimpressionists.com/no/art/john-wollaston-william-axtell-D2XPYC-en/
    Chicago
    John Wollaston. William Axtell. 1749. https://topimpressionists.com/no/art/john-wollaston-william-axtell-D2XPYC-en/
    Harvard
    Wollaston, John (1749) William Axtell. Available at: https://topimpressionists.com/no/art/john-wollaston-william-axtell-D2XPYC-en/

    Se nærmere på

    William Axtell — John Wollaston

    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 Joseph Reade (1749), 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

    Hvor kan jeg kjøpe et digitalt bilde av "William Axtell" av John Wollaston?

    Et digitalt bilde av "William Axtell" av John Wollaston kan kjøpes på siden for Digitalt kunstverk: nedlasting av et digitalt bilde i høy oppløsning.

    Hvem er opphavspersonen til "William Axtell", og hvilket år ble det laget?

    "William Axtell" ble skapt av John Wollaston i 1749.

    Hvor kan jeg se en forhåndsvisning av "William Axtell"?

    En forhåndsvisning av "William Axtell" av John Wollaston er tilgjengelig på kunstverkets Se kunstverket i et rom-side.