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Brimley Hill

Výrazná krajinka od Roberta Polhilla Bevana z roku 1916 zobrazující zelenou stránku Devonu s domy a bohatou vegetací – klíčový díl britského moderního umění.

Robert Polhill Bevan (1865-1925): Britský malíř a zakladatel skupiny Camden Town. Pionýr fauvizmu, známý výraznými krajinami a scénami každodenního života.

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Brimley Hill

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Základní informace

  • Movement: Fauvism
  • Medium: Oil on canvas
  • Year: 1916
  • Influences: European Impressionists
  • Title: Brimley Hill, Devon
  • Artist: Robert Polhill Bevan
  • Location: Herbert Art Gallery & Museum

Kvíz o umění

U každé otázky je pouze jedna správná odpověď.

Otázka 1:
What artistic movement is Robert Polhill Bevan considered a pioneer of?
Otázka 2:
Where did Bevan initially study art, significantly influencing his style?
Otázka 3:
The painting depicts a hillside landscape featuring what prominent architectural element?
Otázka 4:
What is the overall mood conveyed by Bevan’s Brimley Hill?
Otázka 5:
Approximately when was Brimley Hill painted?

Popis sběratelského kousku

Robert Polhill Bevan: Brimley Hill – A Vision of Tranquility Amidst Fauvist Influence

Robert Polhill Bevan’s “Brimley Hill,” painted in 1914/16, stands as a remarkable testament to the burgeoning British Modernist movement and a captivating glimpse into the artistic sensibilities of its time. More than just a picturesque landscape depicting Devonshire scenery—rolling hills crowned with verdant trees—the painting embodies a profound exploration of color and form that foreshadowed the revolutionary advancements championed by artists like Matisse and Cézanne.

  • Subject Matter: The composition centers around Brimley Hill, a prominent geological feature in Devon. Bevan meticulously captures its undulating contours and dense vegetation, presenting a scene brimming with natural beauty. Scattered dwellings punctuate the hillside, grounding the grandeur of the landscape within the realities of rural life.
  • Style & Technique: Bevan’s approach leans heavily into Fauvist principles—a movement that prioritized expressive color over accurate representation—though tempered by his meticulous observation of nature. Thick impasto brushstrokes dominate the surface, conveying a palpable sense of texture and dynamism. The artist skillfully utilizes hues ranging from deep greens and browns to vibrant yellows and reds, creating an arresting visual experience.
  • Historical Context: Painted during World War I, “Brimley Hill” reflects the anxieties and aspirations of its era. Bevan’s artistic endeavors coincided with a period of significant upheaval in European art, as artists wrestled with new ideas about perception and emotion. The painting serves as an emblem of British resilience and optimism amidst wartime uncertainty.
  • Symbolism: Beyond its aesthetic appeal, “Brimley Hill” carries symbolic weight. The hillside itself represents stability and permanence—a counterpoint to the turbulent times—while the trees symbolize growth and renewal. Bevan’s deliberate use of color contributes to an emotional resonance that speaks to themes of peace, contemplation, and connection with the natural world.

The painting's impact extends beyond its immediate visual beauty; it represents a pivotal moment in British art history—a courageous step away from traditional conventions toward a bolder, more emotionally charged artistic idiom. Reproductions offer an exceptional opportunity to appreciate Bevan’s masterful technique and immerse oneself in the serene atmosphere of Brimley Hill.

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Biografie umělce

Robert Polhill Bevan (1865–1925): British painter & Camden Town Group founder

Robert Polhill Bevan, born in Hove in 1865, occupies a pivotal yet often understated position within the narrative of early 20th-century British art. Emerging from a Quaker background steeped in banking connections – his parents were Richard Alexander Bevan and Laura Maria Polhill – he defied conventional expectations to become a daring innovator, a key figure in the transition from Impressionism towards more radical explorations of color and form. His journey was one of constant experimentation, absorbing influences from across Europe while forging a distinctly personal artistic vision that would profoundly impact the development of modern art in Britain. Bevan’s early education at Westminster School of Art under Fred Brown provided a solid foundation, but it was his subsequent studies at the Académie Julian in Paris that truly ignited his creative spark. There, he encountered a constellation of rising stars – Paul Sérusier, Pierre Bonnard, Édouard Vuillard, and Maurice Denis – artists who were challenging academic conventions and embracing new approaches to painting. These encounters proved formative, exposing Bevan to the principles of synthetism and laying the groundwork for his future explorations.

Brittany, Fauvism, and the Search for Pure Color

The impact of Brittany on Bevan’s artistic development cannot be overstated. Two significant journeys in 1890 and 1891 immersed him in the atmosphere of Pont-Aven, a small coastal town that had become a magnet for artists seeking an alternative to Parisian salon culture. The bold colors and simplified forms championed by artists like Gauguin resonated deeply with Bevan, influencing his early drawings and prints. He was particularly drawn to the luminous landscapes of Breton Brittany, where he spent considerable time studying the works of Paul Gauguin and Vincent van Gogh. This fascination fueled his experimentation with pure color – a technique that would foreshadow the emergence of Fauvism on the continent – as evidenced by paintings like “The Chestnut Tree” and “Landscape in the Blackdown Hills.” Bevan’s approach wasn't merely decorative; it represented a deliberate rejection of academic realism, prioritizing expressive chromatic intensity over accurate representation. This bold stylistic choice distinguished him from many of his contemporaries and cemented his place among the vanguard of British modernism. The influence of Cézanne was also palpable in Bevan’s work during this period, particularly in his exploration of geometric forms and spatial relationships – a testament to his intellectual curiosity and engagement with broader artistic trends.

Collective Visions: The Camden Town Group and Beyond

Bevan wasn't an artist who operated alone; he actively sought connection with fellow innovators determined to redefine British art. He was a founding member of the Fitzroy Street Group, alongside artists like Walter Sickert and Frank Auerbach, which quickly evolved into the Camden Town Group in 1911. This collective aimed to depict modern urban life – particularly London’s East End – with uncompromising honesty and emotional intensity. Bevan's involvement with the Camden Town Group was crucial for fostering a dialogue about artistic experimentation and challenging established conventions. He joined forces with Spencer Gore, Joseph Crawhall and Henry Tonks, creating a vibrant artistic community that pushed boundaries and explored new expressive possibilities. Furthermore, Bevan’s membership in the London Group (established in 1913) alongside artists like Vanessa Bell and Roger Fry solidified his commitment to avant-garde ideals and broadened his artistic horizons. He also participated in the Cumberland Market Group in 1915, collaborating with fellow Camden Town painters on ambitious projects that reflected the spirit of the era. Bevan’s engagement with these groups wasn't merely social; it stimulated intellectual debate and encouraged him to confront pressing societal issues – a characteristic that would inform his artistic output throughout his career.

Landscapes, Urban Scenes, and Lasting Legacy

Bevan’s oeuvre spanned diverse subjects—portraits capturing the dignity of individuals—and urban scenes documenting the realities of modern life (“The Cab Horse”). However, he is most celebrated for his landscapes – particularly those depicting the Blackdown Hills near Lewes, Sussex. His paintings embody a profound appreciation for the beauty of the natural world and are imbued with an expressive dynamism that captures fleeting moments of light and atmosphere. Works like “In the Downs Near Lewes,” “The Chestnut Tree” and “Landscape in the Blackdown Hills, Devon” exemplify Bevan’s mastery of color and brushwork—techniques honed during his formative years in Brittany and Paris. He skillfully employed divisionist principles – a technique pioneered by Georges Seurat – to achieve remarkable tonal effects, creating luminous surfaces that convey both visual splendor and emotional depth. Bevan's artistic vision extended beyond mere representation; he sought to communicate an inner experience—a feeling for the rhythms of nature and the complexities of human existence. His paintings remain treasured examples of British landscape art from the early twentieth century, demonstrating a commitment to innovation and aesthetic integrity that continues to inspire artists today. Bevan’s contribution to British modernism is undeniable; he stands as a beacon of artistic courage and intellectual curiosity—a legacy that secures his place in art history
  • Notable artworks: “The Farmhouse”, “Ploughing on the Downs”, “Queen’s Grove”, “The Cab Horse”
  • Places of birth: Hove, United Kingdom
Robert Polhill Bevan

Robert Polhill Bevan

1865 - 1925 , Spojené království

Rychlé fakta

  • Artistic Movement Or Style: Fauvism, Divisionism
  • Artists Or Movements Influenced By This Artist: ['Modern British Art']
  • Artists Who Influenced This Artist:
    • Paul Gauguin
    • Velázquez
    • Goya
    • Renoir
  • Date Of Birth: 1865
  • Date Of Death: 1925
  • Full Name: Robert Polhill Bevan
  • Nationality: British
  • Notable Artworks:
    • The Farmhouse
    • Ploughing on the Downs
    • Queen’s Grove
    • The Cab Horse
  • Place Of Birth: Hove, United Kingdom
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