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Isabella Buxton

Navn Klasse Dato

Thomas Bardwell, Isabella Buxton (1751), Norfolk Museums. Fri for opphavsrett. Se dette lerretet under bevegelig lys: tegningen, den sanne fargen under fernissen, det rene pigmentet

Fakta om verket

Kunstner
Thomas Bardwell topimpressionists.com/no/artists/thomas-bardwell/
Kunstnerens levetid
1704 – 1767
Malt
1751
Arrangert på
Norfolk Museums topimpressionists.com/no/museums/norfolk-museums-norwich/

I sammenheng med

Isabella Buxton — Thomas Bardwell

Når ble dette malt?

  1. 1700
  2. 1710
  3. 1720
  4. 1730
  5. 1740
  6. 1750
  7. 1760

Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 63 ved død.

Malt da kunstneren var 47. Kunstneren ble 63 år gammel. 22 av de 48 daterte verkene av denne kunstneren i vår katalog ble laget tidligere.

Skyggelagt: livsløpet til Thomas Bardwell (1704–1767) ▲ dette verket, 1751 hvert daterte maleri, tiår for tiår

Tidlige verk: frem til 1748 Hovedvirksomhetsår: 1748–1757 Senere verk: fra 1757

Disse tre periodene deler verkene i denne katalogen inn i et første kvartal, en midtre halvdel og et siste kvartal. De utgjør ikke kunstnerens komplette produksjon: en tynn periode kan være et hull i dokumentasjonen snarere enn en rolig periode. De samme årene med kunstnerens liv lagt langs dem

Lignende verk

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/thomas-bardwell-isabella-buxton-AQRNFB-en/

Fargepalett

Målt ut fra bilde

    Hovedfarge

    Phthalo Green #2a271b

    Lagret palett

    • #2A271B
    • #957553
    • #E0BC96
    • #534533

    Disse fargene i kunstnerens komplette palett Finn andre malerier etter farge

    Palett
    Earthy Den dominerende fargefamilien i bildet.
    Navn på hovedfarge
    Phthalo Green
    Metning
    Balanced Hvor mettede og varierte fargene er, fra en enkelt dempet nyanse til mange klare toner.
    Kontrast
    Statement 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
    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 blir dette maleriet sett?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og mer
    Dette maleriet alene har for få registrerte besøkende til å kartlegge, så platen viser alle verk av Thomas Bardwell i løpet av de siste tolv månedene — 5 land totalt. Hvor disse tallene kommer fra

    De ti ledende landene

    1. 1 China 80.8%
    2. 2 United States of America 7.7%
    3. 3 Storbritannia 3.8%
    4. 4 Singapore 3.8%
    5. 5 South Africa 3.8%

    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.

    De 20 mest viste verkene av Thomas Bardwell

    1. 1 Group Portrait (possibly of the Brewster Family), in a Domestic Interior, 1736 10.7%
    2. 2 James Poole (d.1780), Mayor of Norwich (1765), 1767 10.7%
    3. 3 William Crowe (d.1778), Mayor of Norwich (1747), 1746 7.1%
    4. 4 Jermy Harcourt, Mayor of Norwich, 1763 7.1%
    5. 5 Leonard Buxton, 1751 7.1%
    6. 6 Richard Temple (1675–1749), 1st Viscount Cobham 7.1%
    7. 7 John Buxton of Channonz, 1750 3.6%
    8. 8 Joshua Ward Receiving Money from Britannia (also known as Joshua Ward Receiving Money from Britannia and Bestowing it as Charity on the Needy), 1748 3.6%
    9. 9 Portrait of a Lady (possibly of the Nassau de Zuylestein family), 1735 3.6%
    10. 10 Mary Phipps, 1749 3.6%
    11. 11 Captain Robert Fenwick (1716–1802), His Wife Isabella Orde (d.1789), and Her Sister Ann, 1746 3.6%
    12. 12 Catherine Talbot of Ingestre and Hillingdon (1722–1785), 1752 3.6%
    13. 13 David Garrick (1717–1779), as Richard III (from 'Richard III' by William Shakespeare) 3.6%
    14. 14 Sarah Buxton, 1751 3.6%
    15. 15 James Phipps (1703–1773), 1749 3.6%
    16. 16 Anne Buxton (1721–1771), 1751 3.6%
    17. 17 Robert Buxton (1710–1750) 3.6%
    18. 18 A Member of the Whitby Family, 1759 3.6%
    19. 19 John Goodman, Mayor of Norwich, 1757 3.6%
    20. — Isabella Buxton, 1751 dette maleriet 0.0%

    Sammen utgjør disse verkene 96.6% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 54 verk av denne kunstneren, hvorav 20 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

    Thomas Bardwell

    Early Life and Apprenticeship

    Thomas Bardwell, born in 1704, emerged from a family deeply rooted in the decorative arts rather than the established world of fine painting. His initial foray into artistry wasn’t through formal training but within the practical demands of his family's business in Bungay, Suffolk. He began by crafting painted panels – functional embellishments that nonetheless required a keen eye for composition and color. This early experience, though seemingly humble, laid a crucial foundation for his later success. It instilled in him a meticulous approach to craft and an understanding of the visual impact of imagery, even before he consciously aspired to be a portraitist. The earliest documented works, conversation pieces from 1736 – notably one potentially depicting the Brewster family of Beccles now held by the Geffrye Museum – offer glimpses into this formative period. These paintings, intimate scenes capturing familial life, reveal an emerging talent for characterization and narrative detail, hinting at a sensibility that would blossom in his more ambitious commissions.

    Breaking New Ground in Norwich

    Bardwell’s trajectory took a significant turn in 1746 when he secured a commission from the Artillery Company of Norwich to paint William Crowe, who was soon to become mayor. This wasn't merely another portrait; it represented a challenge to the established artistic order within the city. Until then, John Theodore Heins, a German-born artist, had held a virtual monopoly on civic portraiture in Norwich. Bardwell’s success in capturing Crowe’s likeness – and securing this prestigious commission – effectively broke that hold, marking him as a formidable new presence on the local art scene. This initial triumph led to a series of nine portraits for St Andrew's Hall in Norwich, solidifying his reputation and establishing a distinctive style favored by the city’s prominent citizens. He wasn’t simply painting faces; he was becoming an integral part of documenting Norwich society itself.

    London Commissions and Allegorical Depth

    The 1740s and 50s saw Bardwell extend his reach to London, where he undertook a variety of portrait commissions. However, it was during this period that he ventured beyond straightforward representation, demonstrating an ambition for more complex allegorical works. Joshua Ward Receiving Money from Britannia (and bestowing it as charity on the needy), painted in 1748 and now residing within the Royal College of Surgeons’ collection, stands as a prime example. This painting isn't just a portrait of Dr. Joshua Ward; it’s a carefully constructed visual narrative. The symbolic figures of Britannia and Charity flanking Ward, coupled with the throng of grateful patients, elevate the work beyond mere likeness to a celebration of philanthropy and civic virtue. An engraving after this piece, likely by Bernard Baron, further disseminated his imagery and influence. This period reveals Bardwell's growing sophistication in using symbolism to imbue his portraits with deeper meaning, moving him away from purely descriptive representation towards works that actively engaged with moral and social themes.

    Yorkshire, Scotland, and a Return to Norwich

    Bardwell’s artistic journey wasn’t confined to the south of England. Between 1752 and 1753, he embarked on an extensive series of commissions in Yorkshire and Scotland, broadening his exposure to different patrons and regional styles. This period likely influenced his technique and further refined his ability to adapt to diverse aesthetic preferences. However, by 1759, Bardwell made the decision to settle permanently in Norwich. He became a central figure within the city’s artistic community, celebrated for his skill and dedication. An obituary published in a local newspaper lauded him as “an eminent portrait painter…who principally through the power of genius and dint of application, acquired a degree of perfection in his art.”

    Legacy and Theoretical Contributions

    Bardwell’s impact extended beyond the canvas. In 1756, he published The Practice of Painting and Perspective Made Easy, a 64-page treatise dedicated to the Earl of Rochford. This work wasn't merely a technical manual; it reflected his own artistic philosophy and offered practical guidance for aspiring painters. It demonstrates a commitment to sharing his knowledge and promoting the art of painting beyond his immediate circle. According to a general history of Norfolk published in 1829, “the best of his portraits are at Langley,” with works by Turner and Carr also noted as holding historical subjects painted by Bardwell. While perhaps not achieving the widespread fame of some of his contemporaries, Thomas Bardwell carved out a significant niche for himself as a skilled portraitist, a breaker of artistic monopolies, and a thoughtful contributor to the discourse surrounding painting in 18th-century England. His legacy resides not only in the faces he captured but also in the enduring quality of his craftsmanship and his dedication to elevating the art of portraiture within his community.

    Museum

    Norfolk Museums

    Utstilt på Norwich, United Kingdom

    A Tapestry of Time: Discovering Norfolk Museums

    Nestled in the historic heart of Norwich, Norfolk Museums isn’t merely a collection of buildings housing artifacts; it's an immersive journey through centuries of British life, artistry, and innovation. The museums collectively represent a vibrant cultural institution dedicated to preserving and showcasing the diverse heritage of this captivating county. From the imposing silhouette of Norwich Castle to the intimate charm of Strangers’ Hall, each location whispers tales of medieval merchants, industrial pioneers, and artistic visionaries. A visit here isn't simply observation; it’s an encounter with the very soul of Norfolk.

    Norwich Castle Museum & Art Gallery:

    This Norman masterpiece, originally built as a Royal Palace, now safeguards medieval treasures that transport visitors back to a time of knights, cathedrals, and burgeoning trade. Beyond its regal origins, the castle’s collection spans centuries, offering a panoramic view of British history through art and artifacts. The curators skillfully employ academic realism—detailed depictions of architectural grandeur and illuminated manuscripts—to convey the scale and significance of Norman rule.

    Bridewell Museum:

    A stark contrast to Norwich Castle's opulence, Bridewell Museum houses the last Jacquard loom in existence, a tangible symbol of Norfolk’s industrial past. This remarkable machine speaks volumes about the ingenuity and craftsmanship that fueled Norwich’s economic growth during the Victorian era. Its architectural design—a Grade I listed building—reflects the city’s transformation from medieval roots to industrial expansion.

    The Norwich School: Capturing Norfolk's Essence

    Norfolk Museums is particularly celebrated for its exceptional art collection, spearheaded by the Norwich School painters. Active in the early 19th century, these artists—John Constable, George Eliot Palmer, John Sell Cotman—captured the essence of the Norfolk landscape and everyday life with a distinctive blend of realism and romanticism. Their canvases resonate with atmospheric perspective and meticulous attention to detail, mirroring the artistic sensibilities of their time. Examining works like ‘The Marketplace’ by Harry Goodwin offers an unparalleled glimpse into Victorian Norwich – a scene rendered with vibrant colors and masterful composition.

    Beyond Art: Portraits of Norfolk's Medical History

    However, Norfolk Museums’ commitment to storytelling extends far beyond traditional art forms. The museum’s unique collection of medical portraits at the Norfolk & Norwich University Hospital provides a fascinating exploration of over 250 years of healthcare evolution. These portraits honor the dedicated professionals who have served the community through periods of both progress and adversity—individuals whose faces are preserved in time, offering poignant reflections on medical practice and societal values.

    A Living Legacy: Engagement & Exploration

    What truly distinguishes Norfolk Museums is its holistic approach to local history, art, and heritage. It’s a place where the past isn't confined to static displays but actively engages with the present through immersive exhibits and educational programs. Collaborations with local artists and researchers foster a deeper understanding of Norfolk’s cultural landscape—a testament to the museum’s enduring mission: to inspire curiosity and cultivate appreciation for this region’s rich artistic legacy.

    Notable Exhibitions:

    Recent exhibitions have explored themes ranging from Tudor Norfolk to the Industrial Revolution, demonstrating the museum's ability to adapt its programming to contemporary interests.

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    QR-kode som lenker til nedlastingssiden for Isabella Buxton

    topimpressionists.com/no/art/download/thomas-bardwell-isabella-buxton-AQRNFB-en/

    Kildehenvisning for dette kunstverket

    MLA
    Bardwell, Thomas. Isabella Buxton. 1751, Norfolk Museums. https://topimpressionists.com/no/art/thomas-bardwell-isabella-buxton-AQRNFB-en/
    APA
    Bardwell, Thomas (1751). Isabella Buxton [Painting]. Norfolk Museums. https://topimpressionists.com/no/art/thomas-bardwell-isabella-buxton-AQRNFB-en/
    Chicago
    Thomas Bardwell. Isabella Buxton. 1751. Norfolk Museums. https://topimpressionists.com/no/art/thomas-bardwell-isabella-buxton-AQRNFB-en/
    Harvard
    Bardwell, Thomas (1751) Isabella Buxton. Norfolk Museums. Available at: https://topimpressionists.com/no/art/thomas-bardwell-isabella-buxton-AQRNFB-en/

    Se nærmere etter

    Isabella Buxton — Thomas Bardwell

    Se nærmere på detaljene

    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 John Buxton of Channonz (1750), tidligere i denne guiden. Nevn to ting det har til felles med dette verket, og én ting som er annerledes.
    4. Thomas Bardwell var omtrent 47 da dette ble laget. Hva i verket bærer preg av å være skapt av en kunstner i den fasen?
    5. Hva kan kunstneren ha ønsket at du skulle føle?

    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 se en forhåndsvisning av "Isabella Buxton"?

    En forhåndsvisning av "Isabella Buxton" av Thomas Bardwell er tilgjengelig på kunstverkets Forhåndsvisning-side.

    Kan "Isabella Buxton" av Thomas Bardwell, som er en del av samlingen til Norfolk Museums, reproduseres lovlig?

    Opphavsretten til "Isabella Buxton" av Thomas Bardwell er klar: verket er i det frie domene – opphavsretten har utløpt. At det befinner seg hos Norfolk Museums, endrer ikke denne statusen.

    Hvilken fargepalett brukes i "Isabella Buxton" av Thomas Bardwell?

    "Isabella Buxton" av Thomas Bardwell bruker en Earthy fargepalett. Paletten oppsummerer verkets overordnede fargekarakter.