Gids voor studentenkunst
Copyright Dit werk bevindt zich in het publiek domein. Thomas Daniell overleed in 1840; het auteursrecht blijft 70 jaar na de dood van de kunstenaar van kracht, waardoor dit in 1910 is verlopen.
In context
A River Scene — Thomas Daniell
Bovenste rij: de jaren. Onderste rij: de leeftijd van de kunstenaar aan het begin en het einde van elke periode — 0 bij de geboorte, 91 bij het overlijden.
Shaded: het leven van Thomas Daniell (1749–1840) elk gedateerd schilderij, decennium voor decennium
Voor deze opname is geen exacte datum bekend — uitgaande van de levensloop van de artiest en de stijl van het werk, in welk decennium zou u dit plaatsen?
Kies een van de bovenstaande werken: noem twee overeenkomsten met dit werk en één verschil.
Meer werken om naast dit werk te plaatsen: wahooart.com/nl/art/similar/thomas-daniell-a-river-scene-9CWBYU-en/
Gemeten op basis van de afbeelding
Hoofdkleur
Celadon #bfbeb1
Gecatalogiseerd palet
Deze kleuren binnen het volledige palet van de kunstenaar Zoek andere schilderijen op kleur
De tien belangrijkste landen
Zoek de drie donkerste landen op de kaart. Bevindt het museum waar dit schilderij wordt bewaard zich in een van deze landen? Noteer één reden waarom mensen van ver zouden kunnen komen om het te bekijken.
Samen maken deze werken 100,0% uit van alle aandacht die de schilderijen van deze kunstenaar in de afgelopen twaalf maanden hebben gekregen. De catalogus bevat 79 werken van deze kunstenaar, waarvan 14 minstens één keer zijn bekeken. This painting ranks 14 of them, with 5,3% of that attention (100 visits). Hetzelfde geldt voor elke maand
Staven meten aandacht, niet kwaliteit. Kies het werk bovenaan en dit werk: noem één ding dat een schilderij beroemd zou kunnen maken, los van hoe goed het geschilderd is.
Kunstenaar en museum
Thomas Daniell, born in 1749 in Kingston upon Thames, embarked on a journey that would forever alter the way India was perceived by the Western world. Initially trained as an heraldic painter and later working in London’s bustling art scene, Daniell found early success elusive. He exhibited floral pieces and landscapes at the Royal Academy, but struggled to establish a firm foothold. It was the burgeoning opportunities presented by the British East India Company that ultimately steered his artistic path towards the subcontinent—a decision that would not only define his career but also cement his legacy as a pivotal figure in Orientalist painting. In 1784, accompanied by his nephew William Daniell, he set sail for Calcutta, driven by a thirst for adventure and the promise of capturing the exotic beauty of India on canvas.
The seven years Daniell spent in India were transformative, not merely for his artistic development but also for his understanding of a culture vastly different from his own. Arriving in Calcutta in 1786, he and William immediately began documenting the city’s vibrant life—its architecture, its bustling streets, and the everyday scenes unfolding along the Hooghly River. They faced considerable logistical challenges, essentially functioning as their own publishers, engravers, and colorists, relying on local artisans to hand-color the aquatints they produced. This self-sufficiency was born of necessity but also reflected a deep commitment to bringing an authentic vision of India back to Europe. The resulting series, Twelve Views of Calcutta, offered a glimpse into colonial life rarely seen before—a blend of European neoclassical structures juxtaposed with traditional Indian elements. The Daniells didn’t confine themselves to the cities; they travelled extensively throughout Bengal, Bihar, Uttar Pradesh, Rajasthan and beyond, meticulously sketching and painting landscapes, monuments, and scenes of daily life. Their dedication was remarkable, driven by a desire to capture not just the grandeur but also the subtle nuances of Indian culture.
Upon their return to England in 1794, Daniell embarked on an ambitious project: Oriental Scenery, a six-volume series of aquatints that would become his magnum opus. This monumental work wasn't simply a collection of picturesque views; it was a comprehensive visual record of India’s diverse landscapes and architectural wonders. The choice of aquatint as the primary medium was crucial. Unlike engraving, which required precise lines and a more rigid style, aquatint allowed for tonal variations and atmospheric effects that better captured the soft light and expansive vistas of the Indian countryside. Daniell's mastery of this technique—his ability to render subtle gradations of tone and create a sense of depth and atmosphere—was unparalleled. The series depicted everything from the majestic ruins of Ellora Caves to the bustling marketplaces of Rajasthan, offering a panoramic view of India’s cultural richness. Each plate was meticulously hand-colored, adding another layer of vibrancy and authenticity to the images.
Daniell's artistic style evolved significantly during his time in India. While initially influenced by British landscape traditions—artists like Richard Wilson and Paul Sandby—he gradually developed a unique aesthetic that blended European techniques with Indian sensibilities. He embraced the use of light and shadow to create dramatic effects, capturing the intensity of the Indian sun and the atmospheric haze of the monsoon season. His compositions often featured expansive skies and panoramic views, reflecting the vastness of the Indian landscape. The Oriental Scenery series had a profound impact on British perceptions of India. It wasn’t merely a collection of pretty pictures; it was a powerful tool for shaping public opinion and fostering a sense of curiosity about the subcontinent. The images were widely circulated and influenced generations of artists, architects, and designers. Daniell's work also played a role in the development of Orientalism—the Western fascination with Eastern cultures—although his depictions were generally more objective and less romanticized than those of some of his contemporaries. He became a Royal Academician in 1804, solidifying his position as a leading artist of his time. His legacy extends beyond his paintings; he is remembered as a pioneer who helped to bridge the gap between East and West through the power of art, offering a nuanced and captivating vision of India’s colonial landscape. He died in 1840 leaving behind an invaluable visual record of a world undergoing profound transformation.
wahooart.com/nl/art/download/thomas-daniell-a-river-scene-9CWBYU-en/
Bekijk het van dichtbij
A River Scene — Thomas Daniell
Beantwoord de vragen in je eigen woorden. Er zijn hier geen foute antwoorden — alleen antwoorden die je kunt toelichten.
Schrijf een korte paragraaf over dit kunstwerk aan de hand van de feiten uit de eerdere delen van deze gids en uw bovenstaande antwoorden.
Statistieken over "A River Scene" door Thomas Daniell zijn te vinden op de Statistieken-pagina van het kunstwerk: maandelijkse weergaven van het kunstwerk, weergaven van de werken van de kunstenaar en een uitsplitsing naar land en taal van recente bezoekers.
"A River Scene" van Thomas Daniell is bevindt zich in het publiek domein - de auteursrechten zijn verlopen. De auteursrechten worden berekend vanaf het jaar van overlijden van de kunstenaar; Thomas Daniell is overleden in 1840.
"A River Scene" door Thomas Daniell heeft een Landscape-formaat. Het formaat beschrijft de verhoudingen van de compositie.