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Opphavsrett Dette verket er i det frie domene. Smith Alfred døde i 1936; opphavsretten varer 70 år etter kunstnerens død, så den utløp i 2006.
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LA MEULE — Smith Alfred
Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 83 ved død.
Skyggelagt: livsløpet til Smith Alfred (1853–1936) hvert daterte maleri, tiår for tiår
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Disse fargene i kunstnerens komplette palett Finn andre malerier etter farge
De ti ledende landene
Finn de tre mørkeste landene på kartet. Ligger museet som oppbevarer dette maleriet i noen av dem? Skriv ned én grunn til at folk langt unna kan ønske å se det.
Sammen utgjør disse verkene 99.9% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 13 verk av denne kunstneren, hvorav 6 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
Født i Bordeaux, France
Alfred Smith, a name that whispers of quiet landscapes and the gentle touch of Impressionism, was born in Bordeaux, France, in 1854. Though his surname evokes English heritage—a lineage stemming from his father’s Welsh roots—Smith became intrinsically linked to the artistic spirit of his adopted homeland. He wasn't merely a painter; he was an interpreter of atmosphere, a chronicler of fleeting moments, and a subtle innovator within the vibrant French art scene of the late 19th and early 20th centuries.
Smith’s initial artistic journey unfolded within a circle of local Bordeaux artists who admired the realism of Gustave Courbet and the poetic lyricism of Jean-Baptiste-Camille Corot. He formally studied under Hippolyte Pradelles in 1876, followed by Léonce Chabry in 1880 and Amadeus Baudit in 1884—a foundational education that instilled a respect for traditional techniques while simultaneously opening his mind to the burgeoning possibilities of modern painting. His debut at the Paris Salon in 1880, earning an honorable mention, signaled the beginning of a career marked by consistent recognition.
The early works of Alfred Smith bear a striking resemblance to those of Claude Monet—a testament to the profound impact the master Impressionist had on his artistic vision. Smith’s initial canvases were characterized by a similar fascination with light, color, and the ephemeral qualities of nature. He captured scenes around Bordeaux, depicting the bustling quays along the Garonne River, the sun-drenched vineyards that defined the region, and intimate garden views. However, Smith wasn't simply an imitator; he possessed a unique sensitivity to nuance, a subtle palette that distinguished his work from the bolder strokes of many of his contemporaries.
By the 1880s, Smith had risen as a leading figure in the Bordeaux school of painters. While financially independent allowed him to pursue his art without immediate commercial pressures, he didn’t fully dedicate himself to painting until 1886. This period of exploration and refinement saw him move beyond mere imitation, developing a distinctive style that blended Impressionistic techniques with elements of Post-Impressionism.
A pivotal moment in Smith’s artistic development came with his discovery of the Creuse valley. This region, known for its rugged landscapes and picturesque villages, became a source of endless inspiration. He associated himself with the Crozant School—a loose collective of artists drawn to the area's natural beauty and influenced by Courbet’s emphasis on realism. Here, Smith’s palette began to evolve, embracing brighter tones and more expressive brushwork.
His paintings from this period capture the essence of rural life in the Creuse valley—woods bathed in golden light, tranquil gardens teeming with flowers, and intimate scenes of everyday existence. He wasn't interested in grand narratives or dramatic compositions; instead, he focused on capturing the subtle beauty of the ordinary, imbuing his canvases with a sense of quiet contemplation.
Alfred Smith enjoyed consistent recognition throughout his career. He received a third-class medal at the Salon des Artistes Français in 1888, followed by a bronze medal in 1889. In 1894, he was honored with the title of chevalier of the Legion of Honour—a testament to his contributions to French art. He continued exhibiting regularly at French salons into the 1920s, solidifying his reputation as a respected and accomplished painter.
Today, Smith’s works are held in numerous French and Italian museums, including the Musée des Beaux-Arts de Bordeaux and the Musée d'Orsay. His paintings offer a glimpse into a bygone era—a world of quiet beauty, subtle emotions, and the enduring power of light. While perhaps not as widely celebrated as some of his more famous contemporaries, Alfred Smith’s contribution to Impressionism is significant. He was a master of atmosphere, a chronicler of everyday life, and an artist whose work continues to resonate with viewers seeking moments of peace and contemplation.
Key Characteristics: Atmospheric landscapes, subtle palette, Impressionistic techniques blended with Post-Impressionist elements.
Influences: Gustave Courbet, Jean-Baptiste-Camille Corot, Claude Monet.
Major Themes: Rural life, gardens, cityscapes, the beauty of everyday existence.
Smith’s legacy lies not in revolutionary innovation but in his ability to capture the essence of a place and time with remarkable sensitivity. He reminds us that true artistry often resides in the quiet moments—the fleeting glimpses of light, the subtle nuances of color, and the enduring power of human connection.
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LA MEULE — Smith Alfred
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