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Winter Night with Angharad

Navn Klasse Dato

roger cecil, Winter Night with Angharad (2005). Gjengitt i illustrasjonsøyemed; alle rettigheter forbeholdt rettighetshaver.

Fakta om verket

Kunstner
roger cecil wahooart.com/no/artists/roger-cecil/
Kunstnerens levetid
1942 – 2015
Malt
2005
Opprinnelig størrelse
125 x 125 cm

I sammenheng med

Winter Night with Angharad — roger cecil

Dimensjoner

Originalen måler 125 × 125 cm (høyde × bredde), vist her ved siden av en voksen person med gjennomsnittlig høyde.

Når ble dette malt?

  1. 1940
  2. 1950
  3. 1960
  4. 1970
  5. 1980
  6. 1990
  7. 2000
  8. 2010

Skyggelagt: livsløpet til roger cecil (1942–2015) ▲ dette verket, 2005

Lignende verk

Velg ett av verkene ovenfor: nevn to ting det har til felles med dette, og én ting som er annerledes.

Flere verk som kan stå ved siden av dette: wahooart.com/no/art/similar/roger-cecil-winter-night-with-angharad-ARANJC-en/

Fargepalett

Målt ut fra bilde

    Hovedfarge

    Phthalo Green #212122

    Lagret palett

    • #212122
    • #D0D2CA
    • #B5B1A0
    • #383638
    Palett
    Neutrals Den dominerende fargefamilien i bildet.
    Navn på hovedfarge
    Phthalo Green
    Metning
    Monochromatic Hvor mettede og varierte fargene er, fra en enkelt dempet nyanse til mange klare toner.
    Kontrast
    Statement Hvor mye fargene varierer i lyshet og metning over hele bildet.
    Harmoni
    Balanced Harmony Hvor godt fargene fungerer sammen, fra kontrastfylt til fullstendig harmonisk.
    Lysstyrke
    Brilliant Hvor lyst eller mørkt bildet fremstår totalt sett, fra dype skygger til lyse høylys.
    Metning
    Muted Hvor rene og sterke fargene er, fra nesten grått til helt livlige.

    Kunstner og museum

    Kunstner

    roger cecil

    Roger Cecil: A Visionary of Industrial Landscapes

    Born in Abertillery, South Wales, in 1942, Roger Cecil’s artistic journey was inextricably linked to the rugged beauty and industrial heritage of his birthplace. His early life, marked by a close relationship with his mother and a quiet, introspective nature, profoundly shaped his artistic sensibility. Unlike many artists who seek inspiration in grand landscapes or classical themes, Cecil found his muse within the gritty reality of the valleys he called home – the scarred earth, the towering slag heaps, and the weathered faces of the men who toiled within them. This intimate connection with a landscape often overlooked fueled a uniquely powerful and deeply personal body of work.

    Cecil’s formal artistic training began at Newport College of Art in 1959, where he honed his skills under the guidance of influential instructors like John Wright and Thomas Rathmell. He quickly demonstrated an aptitude for draughtsmanship and a willingness to experiment with materials, traits that would become hallmarks of his distinctive style. However, a pivotal moment arrived when he was offered a place at the Royal College of Art in London. While initially excited by the prospect, Cecil soon found himself disillusioned with the academic environment and the prevailing artistic trends. Rejecting the pressures of conformity, he returned to Abertillery, choosing instead to pursue his own path, working as a manual laborer – mining and construction – alongside his art practice. This dual existence, seamlessly blending physical labor with creative exploration, proved crucial to the development of his unique visual language.

    The Language of Scars: Cecil’s Artistic Techniques

    Cecil's artistic process was characterized by a deliberate rejection of traditional painting techniques and a fascination with the textures and materials available in his immediate surroundings. He eschewed pristine canvases and elaborate brushstrokes, instead embracing a raw, almost brutal approach. His works frequently incorporated everyday materials – sandpaper, primer, Polyfilla, grit, and even coal dust – transforming them into layers of texture and surface. This wasn’t simply about adding visual interest; it was a deliberate attempt to capture the essence of his subject matter—the scars and imperfections of the industrial landscape.

    He employed techniques such as rubbing, scraping, burnishing, and scratching to reveal underlying layers and create dynamic surfaces. His palette was predominantly dark – ochres, browns, grays, and blacks – mirroring the muted tones of his surroundings. Yet, within these somber hues, he skillfully introduced flashes of color—often achieved through the use of red oxide or other industrial pigments—to draw attention to specific details and imbue his paintings with a sense of drama and intensity. As critic Sarah Bradford noted, “He is very matter-of-fact about procedure and materials. To him painting is a very practical thing. The making is important.”

    Shaman Secret & Beyond: Themes and Symbolism

    Cecil’s paintings are often described as dreamlike landscapes infused with spiritual and psychological depth. While he resisted easy categorization, his work frequently explores themes of isolation, memory, and the relationship between humanity and the natural world. The recurring motif of the triangle—representing land or a piece of ground—and the cross—a symbol of remembrance—are prominent features in many of his compositions. These symbols, combined with fragmented forms and ambiguous narratives, invite viewers to engage in a deeply personal interpretation of the work.

    His most celebrated painting, “Shaman Secret,” exemplifies this approach. The image is dominated by a dark, almost impenetrable landscape punctuated by stark geometric shapes—a solitary figure standing before a vast expanse of earth. The painting’s power lies not in its literal depiction but in its evocation of a profound sense of mystery and the unknown. It's been suggested that Cecil was influenced by shamanic traditions, drawing on his own experiences and intuition to create works that resonate with primal imagery and spiritual symbolism.

    Legacy and Recognition

    Despite initially shunning the art world, Roger Cecil’s work gradually gained recognition throughout the 1980s and 1990s. He exhibited at Business Art Galleries in Newport and Abergavenny, receiving critical acclaim for his unique vision and technical skill. In 1995, a retrospective exhibition at the Hill Court Gallery in Abertillery provided a comprehensive overview of his career to date. Cecil’s work continues to be studied and appreciated for its raw emotional power, its innovative use of materials, and its profound engagement with the landscape of South Wales.

    Cecil's life was marked by both artistic achievement and personal struggles. He suffered from dementia in his later years, ultimately passing away in February 2015 at the age of 72. His legacy endures as a testament to the power of art to transform ordinary experiences into extraordinary expressions of vision and emotion—a reminder that beauty can be found even in the most unexpected places.

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    QR-kode som lenker til nedlastingssiden for Winter Night with Angharad

    wahooart.com/no/art/download/roger-cecil-winter-night-with-angharad-ARANJC-en/

    Kildehenvisning for dette kunstverket

    MLA
    cecil, roger. Winter Night with Angharad. 2005, https://wahooart.com/no/art/roger-cecil-winter-night-with-angharad-ARANJC-en/
    APA
    cecil, roger (2005). Winter Night with Angharad [Painting]. https://wahooart.com/no/art/roger-cecil-winter-night-with-angharad-ARANJC-en/
    Chicago
    roger cecil. Winter Night with Angharad. 2005. https://wahooart.com/no/art/roger-cecil-winter-night-with-angharad-ARANJC-en/
    Harvard
    cecil, roger (2005) Winter Night with Angharad. Available at: https://wahooart.com/no/art/roger-cecil-winter-night-with-angharad-ARANJC-en/

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    Winter Night with Angharad — roger cecil

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    1. Hva fanger blikket ditt først, og hvorfor?
    2. Hvilke farger eller former skaper stemningen – og hva er den stemningen?
    3. Se tilbake på Figure Study, tidligere i denne guiden. Nevn to ting det har til felles med dette verket, og én ting som er annerledes.
    4. roger cecil var omtrent 63 da dette ble laget. Hva i verket bærer preg av å være skapt av en kunstner i den fasen?
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