纸张尺寸

学生作品指南

E.44 Making an Attack

姓名 班级 日期

Philip Connard, E.44 Making an Attack (1918). 仅供参考;版权归权利持有人所有。 在流动的光影下观察这幅画布:线条的笔触、清漆下的真实色彩、以及纯粹的颜料质感

详情介绍

艺术家
Philip Connard topimpressionists.com/zh/artists/philip-connard/
艺术家生卒年份
1875 – 1958
绘画
1918
原尺寸
61 x 51 cm

语境中

E.44 Making an Attack — Philip Connard

尺寸规格

原件尺寸为 61 × 51 厘米(高 × 宽),此处将其与一名平均身高的成年人并列展示。

创作年份

  1. 1870
  2. 1880
  3. 1890
  4. 1900
  5. 1910
  6. 1920
  7. 1930
  8. 1940
  9. 1950

上行:年份。下行:艺术家在每个时间段开始与结束时的年龄 —— 出生时为 0,去世时为 83。

创作于艺术家 43 岁时。 这位艺术家享年 83。 6 在我们目录中该艺术家的 69 件有明确日期的作品中,早于此件的作品。

阴影:Philip Connard 的生卒年 (1875–1958) ▲ 此作,1918 每一幅带有日期的画作,按年代编排

早期作品:至 1918 主要执业年份:1918–1919 晚期作品:始于 1919

这三段时期将本目录中记录的作品划分为第一季度、中期及最后季度。这些时期并非艺术家的全部创作:某些时期的作品稀少,可能源于记录的缺失,而非创作的停滞。 岁月流转,与艺术家的生命轨迹交相辉映

同类作品对比

从上方作品中任选其一:列出它与此件作品的两个共同点,以及一个不同点。

更多与此作品相媲美的佳作:topimpressionists.com/zh/art/similar/philip-connard-e-44-making-an-attack-AQUJ89-en/

色彩

基于图像测量

    主色调

    Phthalo Green #2c2b2a

    已收录色板

    • #2C2B2A
    • #867868
    • #CABCAC
    • #4D4742

    这些色彩尽在艺术家的完整调色盘之中 按颜色查找其他画作

    配色方案
    Earthy 图像中的主导色系。
    主色调
    Phthalo Green
    饱和度
    Monochromatic 色彩的饱和度与多样性,涵盖了从单一柔和色调到多种明亮色彩的范围。
    对比度
    Gentle 画面中色彩在明度与饱和度上的差异程度。
    和谐
    Softly Mixed Palette 色彩之间的协调程度,从冲突到完全统一。
    亮度
    Deep_shadow 画面整体的明暗程度,涵盖了从深邃阴影到明亮高光的变化。
    饱和度
    Muted 色彩纯净且富有张力,从近乎灰调到极尽鲜艳。

    这幅画作在全球哪些地方被观赏?

    • 占比低于 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% 及以上
    仅凭这幅画作的记录访客数尚不足以绘制地图,因此该图表展示了过去十二个月内 Philip Connard 的每一件作品 —— 总计涵盖 5 个国家。 这些数据来源说明

    十大领先国家

    1. 1 中国 64.7%
    2. 2 加拿大 20.6%
    3. 3 美国 8.8%
    4. 4 西班牙 2.9%
    5. 5 英国 2.9%

    在地图上找出颜色最深的三个国家。收藏这幅画作的博物馆是否位于其中之一?请写下一个让远方的人们想要观赏它的理由。

    Philip Connard 最受关注的 20 件作品

    1. 1 From HMS 'Caesar' HMS 'Superb' at Constantinople, HMS 'Lord Nelson' and the French 'Diderot' in the Distance with Seaforth Highlanders Marching along the Quay, 1919 16.7%
    2. 2 The Bandstand, 1918 5.6%
    3. 3 The Bathers 5.6%
    4. 4 British Warships at Constantinople, 1920 5.6%
    5. 5 A Talk on the Ramparts 5.6%
    6. 6 Sunset 5.6%
    7. 7 St George's Day Bridge of HMS 'Canterbury', on Patrol Work when the Great Naval Raid on Zeebrugge and Ostend Took Place, 1918 2.8%
    8. 8 The Guns of HMS 'Caesar' Off Constantinople, Looking towards the Golden Horn, 1919 2.8%
    9. 9 A Destroyer in a Heavy Sea From HMS 'Melampus', 1918 2.8%
    10. 10 The Harwich Force at Sea, 1918 2.8%
    11. 11 The Destruction of an Airship off the Frisian Coast, 11 August 1918, 1918 2.8%
    12. 12 Lowering the Whaler HMS 'Coventry', 1918 2.8%
    13. 13 Sailor on the Bridge, 1918 2.8%
    14. 14 Trout Stream, 1942 2.8%
    15. 15 Cloud Shadows, 1918 2.8%
    16. 16 HMS 'Danaë', 1918 2.8%
    17. 17 Philip Connard, 1920 2.8%
    18. 18 HMS 'Curlew', 1918 2.8%
    19. 19 Still Life with Crockery, 1920 2.8%
    20. E.44 Making an Attack, 1918 此幅画作 0.0%

    这些作品共同占据了该艺术家画作在过去十二个月中所获关注度的 81.1%。该目录收录了 97 件该艺术家的作品,其中 26 件曾被至少浏览过一次。 此画作在此期间尚无浏览记录 —— 因此在列表中不显示排名。 逐月统计数据保持一致

    条形图衡量的是关注度,而非品质。请选择排在首位的作品以及这一件:列举一件除了绘画技巧之外,可能使一幅画作闻名遐迩的因素。

    艺术家与博物馆

    艺术家

    Philip Connard

    A Life Painted in Light: The Story of Philip Connard

    Philip Connard (1875-1958) emerged from humble beginnings to become a celebrated British painter, his canvases imbued with a romantic sensibility and a remarkable versatility that spanned decorative landscapes, poignant war art, and grand mural commissions. Born in Southport, Lancashire, Connard’s early life offered little indication of the artistic path he would forge. He initially entered the building trade as a house painter, a practical occupation that nonetheless fostered an appreciation for form, color, and meticulous detail—qualities that would later define his work. However, a burgeoning passion for art led him to evening classes, culminating in a scholarship to the Royal College of Art in London, where he specialized in textile design. A small prize of £100 allowed a brief sojourn to Paris, though financial constraints curtailed his time there, it nonetheless provided an initial taste of the European artistic milieu.

    Upon returning to London, Connard established himself as an illustrator before securing a teaching position at Lambeth School of Art. This period proved pivotal, not only for his professional development but also for nurturing a new generation of artists, including Edmund Blampied. It was during these years that Connard’s distinctive style began to coalesce—romantic landscapes populated with graceful figures, often pierettes or birds, rendered in oils with an airy lightness and individual conception. He submitted works to the New English Art Club, gaining recognition for his evocative compositions.

    From Battlefield Sketches to Royal Commissions

    The outbreak of World War I dramatically altered Connard’s trajectory. Despite being nearly forty years old, he volunteered for service, joining the Royal Field Artillery as a private and rising to the rank of Captain before being invalided out due to severe shell shock. This experience profoundly impacted his artistic vision. Appointed an official war artist to the Royal Navy, Connard documented scenes of naval conflict with a newfound intensity and emotional depth. His sketches and paintings captured the drama of battles, most notably the surrender of the German ship SMS Goeben and the daring Zeebrugge raid—works that now reside in the Imperial War Museum, London, serving as powerful visual records of a tumultuous era. This period marked a shift from idyllic landscapes to scenes imbued with patriotism and sacrifice.

    Connard’s wartime service propelled him into a realm of prestigious commissions. He secured contracts for murals at Windsor Castle, large panels for a ballroom in New Delhi, and perhaps his most significant undertaking: a substantial panel depicting England for the opulent RMS Queen Mary liner. These projects showcased his mastery of decorative painting and his ability to translate grand narratives onto monumental surfaces. His work during this time was characterized by a refined elegance and a meticulous attention to detail, reflecting both classical influences and a distinctly British aesthetic sensibility.

    Recognition and Legacy

    The accolades followed in quick succession. Connard was elected an associate of the Royal Academy in 1918 and became a full Academician in 1925. He further served as Keeper of the Royal Academy school from 1945 to 1949, guiding aspiring artists and shaping the future direction of British art. In 1950, he was appointed a Commander of the Royal Victorian Order, acknowledging his significant contributions to the artistic landscape. Throughout his career, Connard’s work found its way into esteemed collections including the Tate Gallery in London, the Musée d’Orsay in Paris, and the National Museum of Wales.

    Influences: While not explicitly aligned with a single movement, Connard's work demonstrates an affinity for Impressionism, particularly in his use of light and color. He also drew inspiration from classical traditions and the decorative arts.

    Key Characteristics: Romantic landscapes, graceful figures, meticulous detail, atmospheric perspective, patriotic themes (particularly during wartime), and a refined elegance.

    Major Achievements: Official War Artist to the Royal Navy, murals at Windsor Castle, panel for RMS Queen Mary, election to the Royal Academy, Keeper of the Royal Academy school.

    Philip Connard’s story is one of resilience, artistic evolution, and unwavering dedication. He rose from modest origins to achieve prominence through talent, hard work, and a willingness to embrace new challenges. His paintings continue to captivate audiences with their beauty, emotional resonance, and enduring testament to the power of art to reflect both the triumphs and tragedies of human experience. He remains a significant figure in British Impressionism, celebrated for his evocative landscapes and his poignant contributions to wartime artistry.

    更多阅读资讯

    • 艺术家 Philip Connard topimpressionists.com/zh/artists/philip-connard/
    • 相似作品 更多作品可供对比 topimpressionists.com/zh/art/similar/philip-connard-e-44-making-an-attack-AQUJ89-en/

    在线获取详情

    链接至 E.44 Making an Attack 下载页面的二维码

    topimpressionists.com/zh/art/download/philip-connard-e-44-making-an-attack-AQUJ89-en/

    引用此作品

    MLA
    Connard, Philip. E.44 Making an Attack. 1918, https://topimpressionists.com/zh/art/philip-connard-e-44-making-an-attack-AQUJ89-en/
    APA
    Connard, Philip (1918). E.44 Making an Attack [Painting]. https://topimpressionists.com/zh/art/philip-connard-e-44-making-an-attack-AQUJ89-en/
    Chicago
    Philip Connard. E.44 Making an Attack. 1918. https://topimpressionists.com/zh/art/philip-connard-e-44-making-an-attack-AQUJ89-en/
    Harvard
    Connard, Philip (1918) E.44 Making an Attack. Available at: https://topimpressionists.com/zh/art/philip-connard-e-44-making-an-attack-AQUJ89-en/

    细致观察

    E.44 Making an Attack — Philip Connard

    近距离观察

    请用自己的话来回答。这里没有标准答案——只有你能解释清楚的答案。

    1. 首先吸引你目光的是什么?为什么?
    2. 哪些色彩或形状营造了这种氛围——而这种氛围又是怎样的呢?
    3. 你能找到多少张面孔?____(我们的目录统计了 3 张 —— 你同意吗?)
    4. 回想一下本指南前文提到的 Albert Emil Davies (1875–1950) (1940)。请指出它与此件作品共有之处的两点,以及不同之处的一点。
    5. Philip Connard 在创作此作时大约 43 岁。作品中的哪些细节体现了艺术家这一阶段的创作特征?

    您的回复

    请围绕这件艺术品撰写一段简短的介绍。内容请结合本指南前文所述的事实以及您在上方提供的答案。

    问答详情

    Philip Connard 的《E.44 Making an Attack》 的主导色调是什么?

    Golden Yellow Range 色调贯穿了 Philip Connard 的《E.44 Making an Attack》。

    "E.44 Making an Attack" 的整体色调明亮吗?

    总体而言,"E.44 Making an Attack" 的亮度记录为 deep_shadow。感知亮度描述了作品呈现出的明暗程度。

    Philip Connard 的《E.44 Making an Attack》 的主导色是什么?

    在“E.44 Making an Attack”中,最引人注目的颜色是Phthalo Green (#2c2b2a)。了解作品的主色调有助于将其与室内装饰进行搭配。