大卫·威尔基全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-27
 爱尔兰威士忌还在 | - |
| 伯恩家“邓肯”的拒绝 | - |
| 扣押出租屋 | Wilkie conveys the powerful emotion generated when a farmer and his large family, unable to pay the rent, are faced with eviction. The subject was topical for many tenant farmers faced financial crisis as rents rose but corn prices fell. The hardworking and despairing farmer's neighbours angrily protest on his behalf as the wealthily dressed, uncaring bailiff orders an inventory of contents and the imminent seizure of goods. Wilkie brilliantly proved here his ability to tackle serious subjects, but the painting had a mixed reception because of its potential political message and its sombre appearance. |
| 比利·沃特斯，水手和街头艺人/乞丐 | his painting is of Billy Waters, an actor and musician who lived in London in the late 18th and early 19th centuries. It is believed to have been painted by the artist Sir David Wilkie in 1815. Billy Waters was one of at least 10,000 people of African origin who lived in London in the early 19th century. Like many former slaves he had fought for the British in the American Revolutionary War. It was during this period that he lost his leg.Waters was a popular and well-known figure, playing his fiddle and entertaining children outside London’s West End theatres. He was elected ‘King of the Beggars’ just before his death in 1823. He was one of several African personalities featured in the publication Life in London (1821). In this painting, Waters is portrayed as dignified and proud. Although in public he often acted the clown, this painting suggests a more serious and powerful side to him. |
| 风笛手 | Wilkie exhibited this intimate portrait in 1813, when his reputation as a painter of character was already well-established. As a Scottish artist, Wilkie was keen to elevate the status of his national school. Here, however, he seems to draw on stereotypes, showing his character with a red nose and cheeks, auburn hair and thick eyebrows. These elements evoke the wildness associated with the Scots by many 19th-century English viewers. While Wilkie’s picture may appear to be taken from life, it also answered a demand for romanticised images of Scotland. |
| 介绍信 | This subject is based on Wilkie's own experience as a young artist arriving in London with, as he felt, useless letters of introduction to potential patrons. He captures perfectly the awkward pose of a young man uncomfortable in formal clothes being sniffed at by the dog of the unfriendly older gentleman. Although dressed informally in dressing gown, slippers and turban the older man's expression, both calculating and suspicious, does nothing to ease the tension of the moment. The conspicuous presence of a Japanese jar may suggest he is a connoisseur. |
| 皮特莱斯利集市 | Painted when Wilkie was just nineteen, this ambitious 'portrait' of the annual May fair in Pitlessie Village demonstrated his remarkable talent and the kind of painting in which he was to excel. Its subject and character were radical departures from the established conventions of history painting, although it was equally demanding in its compositional organisation and variety of figures. Wilkie was inspired by examples of seventeenth century Dutch and Flemish paintings and also by Scottish folklore and cultural traditions celebrated in contemporary literature. He met with immediate success in London with this as his showpiece, prompting several prestigious commissions. |
| 威廉·查莫斯·白求恩及他的妻子伊莎贝拉·莫里森和他们的女儿小伊莎贝拉 | - |
| 索蒂里的肖像 | - |
| 神殿中的撒母耳 | - |
| 萨拉戈萨的守卫 | - |
| 切尔西养老金领取者正在阅读滑铁卢战报 | - |
| 阅读遗嘱 | - |
| 卡瓦莱利·穆罕默德·阿里，凯比尔巴夏 | - |
| 考特斯一家的周六晚上 | - |
| 外交官罗伯特利斯顿爵士 | 威尔基在伦敦画了外交官罗伯特利斯顿爵士（1742-1836）。他将半身形状设置在一个深紫色的棕色窗帘的背景下，用深红色拍摄，有力地补充了灰发的头部。里克森的活跃面孔体现了经验和年龄，他已经从海牙回到英国，准备最后一次到君士坦丁堡。这位杰出的外交官流利地讲了十种语言，并在马德里，斯德哥尔摩和华盛顿担任高级职务。 |
| 20岁左右的自画像 | - |
| 维多利亚女王（局部） | - |
| 无名男子，原名詹姆斯·诺斯科特 | - |
| 给羊群洗澡 | This painting was based on sketches that Wilkie made around 1815 during a retreat to the Wiltshire countryside from his permanent home in London. It is believed to show a scene at Fisherton Delamere, near Salisbury. Shortly before the painting was exhibited at the British Institution in 1817, he wrote to the great art patron and amateur landscape painter Sir George Beaumont. Wilkie asserted that although landscape painting was entirely new to him, the picture was done with the sole object of teaching himself how to ‘paint an out-door scene with facility’. Wilkie was a great admirer of seventeenth century Dutch landscapes, and this practical scene of work and nature recalls the paintings of Jacob van Ruisdael and Meindert Hobbema, especially in the inclusion of the water-wheel motif. |
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