托马斯·吉尔丁全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-29
 维斯塔神庙 | Thomas Girtin 1775–1802 T00992 A Temple of Vesta Not inscribed. Watercolour, 11¿ x 12 (29 x 30.5). Presented by the National Art-Collections Fund from the Herbert Powell Bequest 1967. Coll: Herbert Powell, entrusted to the N.A.-C.F. 1929. Exh: see Atkins T00964 . |
| 一座古老的城堡。勾勒社会主题 | This is one of the many monochromatic wash drawings produced by members of the Sketching Society, which included Girtin, Joshua Cristall and John Varley. The Society met once a week for dinner, discussion and sketching. The host chose a literary subject to be drawn from their imaginations. They followed Reynolds's advice for achieving dramatic effect: 'by reducing¿ colours to little more than chiaro oscuro' (the use of contrasting darks and lights). Girtin's application of dark, broad, flat washes separated by areas of unpainted paper clearly demonstrates this technique. |
| 在艾尔河上的柯克斯托尔修道院，W.塞伊所刻 | Four mezzotints, all proofs before letters, various papers and sizes, from a series of twenty-one plates after J.M.W. Turner (see T04790 - T04819 , T04917 ), Thomas Girtin and William Collins (see T04867 ) Purchased (Grant-in-Aid) 1986 Prov: ...; N.W. Lott and H.J. Gerrish Ltd, from whom bt by Tate Gallery Lit: Jonathan Mayne, Thomas Girtin 1775–1802 , 1949; Thomas Girtin and David Loshak, The Art of Thomas Girtin , 1954; see also under After Turner T 04790–04819 and After Collins T04867 The history of this series, and a list of the engravers involved, is given in the introduction to After Turner T04790 - T04819 below. Another view after Girtin for this series, of Durham on the River Wear, was advertised in the second part of the series as in preparation, but was never published. Turner is said to have touched the proofs of the plates after Girtin for The Rivers of England in respect for his friend's memory, although it is stated that he claimed ‘two guineas a piece’ as a fee (T. Miller, Turner and Girtin's Picturesque Views , 1854, quoted in Eric Shanes, Turner's Rivers, Harbours and Coasts , 1981, p.10). For an example of a proof touched by Turner and inscribed with his initials, see under T04869 . T04868 Kirkstall Abbey on the River Aire engr. W. Say Mezzotint 145 × 213 (5 11/16 × 8 3/8) on India paper laid on wove paper 341 × 515 (13 7/16 × 20 1/4); plate-mark 175 × 265 (6 7/8 × 10 3/8) Lit: Mayne 1949, p.90; The Print in England , exh. cat., Fitzwilliam Museum, Cambridge 1985, no.19 (different impression) Engraver's proof of plate no.9 of The Rivers of England , published 1824; bound as plate 9 of River Scenery , 1827. Original watercolour : Victoria and Albert Museum, ex-collection B.G. Windus (Girtin and Loshak 1954, no.414, fig.66). Another mezzotint reproducing this watercolour was engraved for Liber Naturae , with the date of publication given as 24 April 1823, and was reprinted in 1883. Published in: Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88 , London 1996 |
| 英格兰的河流（“河流风光”）乌尔河和斯凯尔河上的：里彭明斯特，T.卢普顿所刻 | Four mezzotints, all proofs before letters, various papers and sizes, from a series of twenty-one plates after J.M.W. Turner (see T04790 - T04819 , T04917 ), Thomas Girtin and William Collins (see T04867 ) Purchased (Grant-in-Aid) 1986 Prov: ...; N.W. Lott and H.J. Gerrish Ltd, from whom bt by Tate Gallery Lit: Jonathan Mayne, Thomas Girtin 1775–1802 , 1949; Thomas Girtin and David Loshak, The Art of Thomas Girtin , 1954; see also under After Turner T 04790–04819 and After Collins T04867 The history of this series, and a list of the engravers involved, is given in the introduction to After Turner T04790 - T04819 below. Another view after Girtin for this series, of Durham on the River Wear, was advertised in the second part of the series as in preparation, but was never published. Turner is said to have touched the proofs of the plates after Girtin for The Rivers of England in respect for his friend's memory, although it is stated that he claimed ‘two guineas a piece’ as a fee (T. Miller, Turner and Girtin's Picturesque Views , 1854, quoted in Eric Shanes, Turner's Rivers, Harbours and Coasts , 1981, p.10). For an example of a proof touched by Turner and inscribed with his initials, see under T04869 . T04870 Ripon Minster on the Rivers Ure and Skell engr. T. Lupton Mezzotint 147 × 224 (5 3/4 × 8 1/) on wove paper 340 × 515 (13 3/8 × 20 1/4); plate-mark 189 × 251 (7 3/4 × 9 7/8) Lit: Mayne 1949, p.90 Engraver's proof of plate no.12 of The Rivers of England , published 1825; said to have been subsequently cancelled owing to defects in the steel plate, but bound (unlisted) as plate 21 in River Scenery , 1827. Original watercolour : ex-collection James Stuart, probably identifiable with the watercolour now in the National Gallery of Scotland (Girtin and Loshak 1954, no.156). |
| 圣丹尼斯大街 | Thomas Girtin 1775–1802 T00990 La Rue St Denis 1802 Not inscribed. Hand-coloured etching, 9 x 19¼ (22.9 x 48.9). Presented by the National Art-Collections Fund from the Herbert Powell Bequest 1967. Coll: Herbert Powell, entrusted to the N.A.-C.F. 1929. Exh: see Atkins T00964 . Lit: T Girtin & D Loshak, The Art of Thomas Girtin, 1954, pp. 199–200. Girtin’s etchings of Paris, aquatinted by J C Lewis, J B Harraden, W Pickett and J C Stadler, were first published separately between June and October 1802 and collectively in 1803 as A Selection of Twenty of the most Picturesque Views in Paris and its Environs. Girtin and Loshak suggest that T00990 may have come from the set formerly in the possession of the Duke of Bedford, which was one of two sets of the etchings coloured in watercolour by Girtin himself. |
| 景观 | - |
| 切尔西的白宫 | This, Girtin's most celebrated work, was much admired by Turner. According to an anecdote, 'A dealer went one day to Turner, and after looking round at all his drawings in the room, had the audacity to say, 'I have a drawing out there in my hackney coach, finer than any of yours.' Turner bit his lip, looked first angry, then meditative. At length he broke silence: 'Then I tell you what it is. You have got Tom Girtin's White House at Chelsea''. The focus of the watercolour, the white house itself, is created by leaving the paper more or less unpainted. The windmill at the left was known as Red House Mill. Beyond it is the horizontal windmill at Battersea and towards the right Chelsea Parish Church. |
| 吉斯伯勒修道院，约克郡 | Here, a subject that in previous generations would have been treated simply as a record of a particular place forms the basis for a much more imaginative composition . Girtin creates drama by emphasising the verticality of the architecture, which he shows as a silhouette against the sky. In this way he evokes the feelings of vertiginousness associated with the Sublime . Girtin was Turner's exact contemporary, but he died at the tragically young age of twenty-seven. His innovative watercolours were admired for their 'daring and vigorous execution'. |
| 海岸场景，与前景中的船 - 在多佛附近 | - |
| 蜿蜒的河口 | - |
| 公园里的树 | - |
| 庞- Y-对 | Thomas Girtin 1775–1802 T00995 Pont-y-Pair 1798–9 Not inscribed. Watercolour, 15 x 20½ (38 x 52). Presented by the National Art-Collections Fund from the Herbert Powell Bequest 1967. Coll: Tiffen 1860; G W Girtin; T Girtin; Herbert Powell, entrusted to the N.A.-C.F. 1929. Exh: B.F.A.C., 1875 (18); see also under Atkins T00964 . Lit: T Girtin & D Loshak, The Art of Thomas Girtin, 1954, pp. 173-4, no. 291 i. Dated by Girtin and Loshak 1798–9. Another version of this watercolour was with Walker’s Galleries in 1919, and a pencil drawing of the same subject is in the Turner Bequest at the British Museum (CCCLXXVII, 39; Girtin & Loshak, op. cit., p. 174, no. 291 iii, repr. fig. 82). Published in The Tate Gallery Report 1967–1968 , London 1968. |
| 朱利安皇帝浴场的废墟，克卢尼酒店，巴黎 | Watercolour on paper, 12 3/8 × 9 3/4 (31.3 × 23.3) Purchased from Stanhope Shelton (Grant-in-Aid) 1982 Prov: ...; Robert Nesham, sold Christie's 30 July 1924 (80, as ‘Ewenny Priory, Glamorganshire’, by J.M.W. Turner), bt Agnew, by whom correctly identified and sold to R.A. Tatton, 1925; Gilbert Davis; Paul Tod; ‘The Property of a Lady’, sold Christie's 4 November 1975 (78, repr.), bt Stanhope Shelton. Lit: Thomas Girtin & David Loshak, The Art of Thomas Girtin , 1954, p.201, cat.no.482 (ii). Repr: Andrew Wilton, The Life and Work of J.M.W. Turner , 1979, p.47, pl.31. Julian's Baths, so-called, but more correctly termed the ‘Thermes’, formed part of a Roman palace probably erected during the reign of the Emperor Hadrian (or no later than 228 AD), and later much patronised by the Emperor Julian. The ‘Thermes’ consisted of a monumental suite of vaulted baths; Girtin's drawing is probably of the ‘Frigidarium’, which is some 65ft long and 59ft high. From the fourteenth century, after its acquisition by the Benedictines of Cluny, the building was expanded into an abbot's palace known as the Hotel de Cluny; later it was used for royal and papal visitors. During the French Revolution, the building was commandeered as national property, then sold, passing through various owners' hands. In the late 1790s the ‘Thermes’ were used by a cooper, whose casks and barrels may be seen in Girtin's drawing. The Hotel de Cluny was re-purchased by the State in 1843, and from the following year was used (as it still is) as a museum (see Edmond Haraucourt, Le Musée de Cluny , 1925, pp.9–14). The Hotel de Cluny is on the left bank of the Seine, at the crossroads of the Boulevard St Germain and the Boulevard St Michel. Girtin spent some six months in Paris in 1801–2, probably arriving there within a month of the signing (on 1 October 1801) of the Peace of Amiens, and returning to London in May 1802. His own chief purpose in going to Paris was to make a series of panoramic views, mostly published posthumously in 1803 as A Selection of Twenty of the Most Picturesque Views in Paris and its Environs ; he had also been advised to seek a (preferably warmer) change of air for his deteriorating health (he died in London on 9 November 1802, six months after his return from Paris). He sketched most of his Paris views from the windows of hired coaches; T 03340, of which there is an almost identical version in the Whitworth Art Gallery, Manchester (13 × 9 5/8in., Girtin & Loshak, op.cit., no.482 i), is his only known Paris interior |
| 船体和驳船及小船 | - |
| 班布尔城堡，诺森伯兰 | - |
| 威斯特摩兰郡的湖泊和山脉 | - |
| 坎特伯雷西门，与邻近建筑物 | - |
| 习作：柏树 | - |
| 跨湖或沿岸景观，及许多小岛 | - |
| 西南部的奇切斯特大教堂 | - |
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