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durham cathedral and bridge
new20/Thomas Girtin-337255.jpg
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durham_cathedral_and_bridge
mk248 vyer fran storbritannirn var mycket efterfragade nar kriget med frankrike bindrade folk fran att resa i ovriga europa. det ansags ocksa patriotiskt av de rika att bestalla bilder av brttiska nationalmonument. girtin kunde manipulera ljusforingen for att uppna den stamning som efterfragades, fran dramatiskt till fridfullt. han revolutionerade akvarelltekniken genom att slop grundfargen ocb mala med akvarellfargerna direkt pa papperet. sarskilt akvarellpapper var sallsynt ocb konstnarer malade pa allt slags papper.karduspapper. till exempel, uppskattades for den grova strukturen det anvandes egentligen som boljen till krutladdninger.
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near beddgelert
new23/Thomas Girtin-777766.jpg
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near_beddgelert
north wales, 1798 watercolour 29x43.2cm
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The collector of tithes
new25/Thomas Girtin-495736.jpg
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The_collector_of_tithes
oil on Canvas(1663-1720)
cyf
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Portrait of Thomas Girtin
new26/Thomas Girtin-958398.jpg
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Portrait_of_Thomas_Girtin
18/19th century
cjr
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Jedburgh Abbey from the River
new26/Thomas Girtin-384634.jpg
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Jedburgh_Abbey_from_the_River
1798-1799
cjr
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Thomas_Girtin
English Romantic Painter, 1775-1802
English painter, draughtsman and printmaker. With his rival, J. M. W. Turner, he extended the technical possibilities of watercolour and in doing so demonstrated that watercolours could have the visual impact and emotional range of oils. Although close in style throughout the 1790s, by 1800 Turner and Girtin were beginning to diverge: whereas the former dissolved forms to express his idea of Nature in a state of flux, the latter sought out a landscape's underlying patterns to convey his awe of Nature's permanence as well as its grandeur. Girtin's reduction of landscape to simple and monumental forms
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