x
1880
76.0 x 127.0 cmMuseolaatuisia giclée- tai kankaitaulun tulosteita nopealla tuotannolla ja joustavilla viimeistelyvaihtoehdoilla.
Valitse valmiista mitoistamme sellaiset, jotka vastaavat teoksen alkuperäisiä mittasuhteita.
Voit syöttää omat mitat sopiaksesi tiettyyn kehykseen tai tilaan. Jos valittu koko ei vastaa alkuperäisen kuvan mittasuhteita, rajaamme teosta tai laajennamme kuvaa peilatulla tai yhtenäisellä reunalla. Digitaalinen mallikuva lähetetään hyväksyttäväksi ennen tuotannon aloittamista.
Huomaathan, että näytöllä näkyvä esikatselu ei vastaa lopullista rajausta tai laajennusta. Vain mallikuva näyttää lopullisen sommittelun tarkasti.
Vaikka räätälöityjä kokoja on saatavilla, suosittelemme valitsemaan mitat valmiista listasta alkuperäisten mittasuhteiden säilyttämiseksi.
Toimitus maailmanlaajuisesti () kahdessa viikossa tavallisen 4–5 viikon sijaan. (2 heinäkuu)
Approaching Storm
Replikaatin koko
William Keith (November 18, 1838 – April 13, 1911) was a Scottish-American painter famous for his California landscapes. He is associated with Tonalism and the American Barbizon school.
Keith was born in Aberdeen, Scotland, where he was raised at first by his grandparents, his father having died months before he was born. William claimed to have been a direct descendant of the noble Clan Keith.
He emigrated with his mother and sisters to the United States in 1850. They settled in New York City, where he attended school for several years and became an apprentice wood engraver in 1856. He was hired to do illustrations for Harper’s Magazine.
In 1858 he visited Scotland and England briefly working for the London Daily News, and then he was offered an opportunity in San Francisco and sailed there in May 1859.
Upon Keith’s arrival in San Francisco the job he had hoped for did not materialize, so he set up his own engraving business. He formed a partnership with Harrison Eastman in 1862 and with Durbin Van Vleck in 1864.
He first studied painting with Samuel Marsden Brookes in 1863, and may have taken watercolor instruction from Elizabeth Emerson, whom he married in 1864. He exhibited his watercolors in 1866, and they were praised by critics.
By 1868 he had begun painting in oils. That year Keith was able to end his engraving career and pursue painting full-time when he received a commission from the Oregon Navigation and Railroad Company to paint scenes of the Pacific Northwest.
Keith’s style increasingly aligned with Tonalism and the American Barbizon School, movements that prioritized mood, atmosphere, and subjective experience over strict realism.
He befriended John Muir, the renowned naturalist and conservationist. Their shared Scottish heritage and reverence for the California mountains fostered a profound connection, with Muir encouraging Keith to depict nature authentically while Keith sought to express its spiritual essence through his art.
The influence of Swedenborgian minister Joseph Worcester after the death of his first wife, Elizabeth, also played a significant role, leading Keith to imbue his landscapes with a sense of transcendental beauty and spiritual contemplation.
Keith received widespread recognition during his lifetime, exhibiting extensively from the 1870s onward, including participation in international expositions.
The posthumous honor of an entire room dedicated to his work at the Panama-Pacific International Exposition in 1915 stands as a testament to his significant contribution to American art.
Today, Saint Mary’s College Museum of Art in Moraga, California, safeguards over 170 works associated with him, ensuring that future generations can experience the beauty and depth of his vision.
Keith was a master of atmosphere, capable of evoking a sense of tranquility, awe, and spiritual connection through his subtle use of color and light.
His tonalist style profoundly influenced subsequent generations of artists, leaving an indelible mark on the development of landscape painting in America.
He provided invaluable visual records of California’s natural beauty during a period of rapid change and development, capturing a fleeting moment in time before the landscape was irrevocably altered by human intervention.
1838 - 1911 , Skotlanti
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