理查德·威尔逊全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-25
 现实的一部分（二） | - |
| 林恩- Y啼，卡德伊德里斯 | This picture shows the lake of Llyn-y-Cau, on the mountain of Cader Idris in North Wales. The ‘discovery’ of such rugged and uncultivated scenery was greatly stimulated by the taste for the sublime: previously it would have seemed only raw and disorderly. Richard Wilson was one of the first to adapt the conventions of landscape painting to this sort of scenery, and was a major influence on other artists, including Turner. However, Wilson has still invented landscape features and heightened the precipice at the rear of the composition (Craig-y-Cau) to create a more simplified and balanced composition. |
| 乔治三世和约克公爵 | - |
| 尼米湖与沐浴的人 | This picture certainly belonged to Turner and presumably hung at Queen Anne Street. Various versions of this composition by Wilson exist, but there remains the possibility that this one is by Turner rather than by Wilson or his studio. |
| 林地场景 | - |
| 石窟 | - |
| 河上有桥的山谷 | Possibly from Turner's collection. The attribution has been debated between Wilson, his studio and Turner. If there is a connection with Turner, the picture may have hung at Queen Anne Street. |
| 在怀中 | - |
| 阿韦尔诺湖 | Summary Richard Wilson visited Lake Avernus to the north of Naples in 1752 and again in the spring of 1753 with his patron William Legge, 2 nd Earl of Dartmouth (1731-1801). As a result of these visits he painted two pictures of the area, the present view of Lake Avernus and Lake Avernus and the Island of Capri (Tate N00304 ). Wilson, his pupils and copyists replicated both subjects on numerous occasions. Lake Avernus lies in a volcanic region on the south-west coast of Italy, between Naples and Cumae. According to classical mythology the area, known as the Phlegraean Fields ('burning fields'), was associated with the Infernal Regions. Because of its location among dark, gloomy woods, and its reputed depth, Avernus was supposed to have been an entrance to the underworld. It was also situated close to the Grotto of Deiphobe, the Cumaean Sibyl, a celebrated prophetess, who, in Virgil's Aeneid , conducts the Trojan prince, Aeneas, to the underworld to meet the spirit of his deceased father. Wilson, like many visitors, was undoubtedly attracted to Lake Avernus by its classical associations, as well as its immense natural beauty. In the present picture Wilson has organized the landscape surrounding lake according to the pictorial precepts of the seventeenth-century classical landscape painter, Claude Lorrain (1600-82), with a foreground of framing trees and figures, a middle ground containing the lake, and a horizon capped by distant mountains. The classical associations of the area are underpinned by the presence of the sarcophagus and tomb slab in the right foreground. By way of contrast the foreground figures appear to be simple fishermen, possibly selling their catch to the figure on their right, who has been erroneously identified in the past as a sibyl (see Constable, p.194). In his catalogue of Wilson's oil paintings , published in 1953, W. G. Constable identified numerous versions of the subject by Wilson, including copies by pupils and followers, an indication that Wilson regarded it as one of his 'good breeders' (Constable, p.58). The exact date of the present picture is unknown, although a version of the subject (probably that shown in Constable, plate 69a) was engraved in reverse by James Roberts in 1765 as A View in Italy . The picture was bequeathed to the National Gallery in 1854 by Richard and Catherine Jones Garnon, and transferred to the Tate Gallery in 1919. Further Reading: M. Davies, National Gallery Catalogues: The British School , London 1946, p.176 W. G. Constable, Richard Wilson , London 1953, pp.194-5, plate 69b Martin Postle June 2001 Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you . Read more |
| 组成：湖泊和树木，船舶 | - |
| 豪恩斯洛 希思 | - |
| 尼罗渠 | Wilson began this drawing by applying a chalky, ochre-coloured wash to the paper . He then worked over the surface with black chalk , using quite light pressure. The chalk lines have picked up the surface texture of the laid paper. Diagonal hatchings of heavily applied chalk define the shadows in the arches. The ochre wash on the paper contrasts with the dark lines of the structure, suggesting light coming through the arches. Subtle white chalk highlights have been added to the central right arches. |
| 泰晤士河的景色 | - |
| 圆形剧场中的雕像 | - |
| 米西奈斯别墅 | - |
| 倒下的树干，坐着的和尚 | - |
| 塔洞 | This drawing in black chalk on a chalky grey-tinted paper shows Wilson's use of the stump (a roll of paper or soft leather cut to a blunt point at each end) to smudge and soften the black chalk. Wilson has applied subtle white chalk lines to the tops of the rocks and boats. Broader applications of white chalk in the sky, sea and rocks are slightly smudged, giving a sense of the moonlight falling over the scene. These highlights give luminosity to the drawing. |
| 在神殿的人物 | - |
| 提图斯凯旋门 | - |
| 习作：树 | - |
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