Sprievodca študentskou tvorbou
Autorské právo Toto dielo sa nachádza vo verejnej domäne. Thomas Phillips zomrel(a) v roku 1845; autorské právo trvá 70 rokov po smrti umelca, takže v roku 1915 zaniklo.
V kontexte
Self Portrait — Thomas Phillips
Row above: the year. Row below: the artist's age in that year.
Shaded: životný príbeh Thomas Phillips (1770–1845)
First works: up to 1805 Main working years: 1805–1834 Late works: from 1834
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell.
Pri tomto zázname nie je v evidencii uvedené presné yılové obdobie — ak by ste brali do úvahy životný pomer umelca a štýl diela, ktoré dekády by ste odhadli?
Vyberte si jedno z vyššie uvedených diel: uveďte dve veci, ktoré má spoločné s týmto, a jednu vec, v ktorej sa líšia.
Ďalšie diela, ktoré sa k tomuto hodia: wahooart.com/sk/art/similar/thomas-phillips-self-portrait-9CWC5F-en/
Zmerané z obrazu
Hlavná farba
Black #080100
Uložená paleta
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 56,1% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 275 works by this artist, of which 47 were looked at at least once. This painting ranks 18 of them, with 1,6% of that attention.
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Umenec a múzeum
Miesto narodenia Dudley, Spojené kráľovstvo
Thomas Phillips, born in Dudley, Worcestershire, in 1770, represents a fascinating confluence of artistic disciplines – initially trained as a glass painter, he ultimately ascended to become one of the most celebrated portraitists of his era. His journey from the meticulous craft of decorative glass to the grand halls of London’s Royal Academy is a testament to his innate talent and unwavering dedication. Phillips's work isn’t merely about capturing likeness; it’s an exploration of character, imbued with a remarkable sensitivity to light, color, and the subtle nuances of human expression.
His early years were shaped by his apprenticeship under Francis Eginton in Birmingham, where he honed his skills in glass-painting. This foundational experience instilled within him a profound appreciation for detail – a meticulousness that would later become a hallmark of his portraiture. The intricate patterns and vibrant hues of stained glass demanded an acute eye for color mixing and composition, providing a crucial training ground for the artist’s future endeavors. It was in 1790 that Phillips embarked on a pivotal journey to London, armed with a letter of introduction to Benjamin West, a leading figure at the Royal Academy. West's mentorship proved transformative, opening doors to employment on the painted-glass windows of St George’s Chapel at Windsor Castle – a demanding but invaluable opportunity to refine his artistic abilities within a grand architectural setting.
Phillips’s transition into portraiture was gradual yet deliberate. While initially undertaking landscape and historical scenes, he quickly recognized the burgeoning demand for individual portraits amongst London's elite. His style evolved rapidly, drawing upon both his glass-painting training – particularly his understanding of light and shadow – and the prevailing artistic trends of the late 18th and early 19th centuries. He possessed a rare ability to capture not just physical likeness but also something of the sitter’s inner life—their character, intellect, and even their mood. This wasn't simply replication; it was an attempt to reveal the soul behind the surface.
His early subjects were largely unknown individuals – tradesmen, servants, and members of the lower classes. However, through perseverance and a growing reputation for skill, Phillips steadily ascended the social ladder, attracting increasingly prominent figures to his studio. The portraits he produced during this period—often unsigned in the catalogues—were characterized by their understated elegance and remarkable realism. He skillfully employed subtle gradations of tone and color to create a sense of depth and atmosphere, capturing not just the appearance but also the essence of his subjects.
The year 1804 marked a turning point in Phillips’s career with his election as an associate of the Royal Academy. This prestigious recognition solidified his position within the established art world, alongside luminaries such as Thomas Lawrence and John Hoppner. Shortly thereafter, he relocated to 8 George Street, Hanover Square – a prestigious address that would serve as his home and studio for the remainder of his life. His clientele expanded dramatically during this period, encompassing members of the royal family, including the Prince of Wales (later George IV), as well as prominent figures from the aristocracy, literary circles, and scientific communities.
Amongst his most celebrated portraits are those of William Blake, a visionary poet and artist; Lord Byron, the flamboyant Romantic hero; and Sir Joseph Banks, the renowned botanist. The portrait of William Blake, now housed in the National Portrait Gallery, is particularly noteworthy for its evocative depiction of the poet’s intense gaze and spiritual depth. Phillips's ability to capture the essence of these extraordinary individuals cemented his reputation as one of the foremost portraitists of his time.
In 1825, Thomas Phillips was appointed Professor of Painting at the Royal Academy, a position he held until 1832. This role afforded him the opportunity to share his artistic knowledge and techniques with aspiring artists, shaping the future of British painting. He published Lectures on the History and Principles of Painting in 1833, offering insights into his artistic philosophy and pedagogical approach – a testament to his enduring influence on the art world.
Phillips’s legacy extends beyond his individual works. His meticulous attention to detail, combined with his profound understanding of human psychology, established him as a master of portraiture. His paintings offer a captivating glimpse into the lives and personalities of some of Britain's most influential figures—a testament to his skill, sensitivity, and enduring artistic vision. The portraits he created continue to be admired for their beauty, realism, and the profound sense of character they convey.
wahooart.com/sk/art/download/thomas-phillips-self-portrait-9CWC5F-en/
Pozrite si bližšie
Self Portrait — Thomas Phillips
Odpovedajte vlastnými slovami. Neexistujú tu žiadne nesprávne odpovede – len také, ktoré dokážete vysvetliť.
Napíšte krátky odstavec o tomto umeleckom diele. Využite informácie z predchádzajúcich častí tohto sprievodcu a svoje vyššie uvedené odpovede.
Print diela „Self Portrait“ od Thomas Phillips si môžete objednať priamo na táto stránka: umelecká tlač na bavlnenom plátne alebo archivnom plátnovom papieri.
Paleta diela „Self Portrait“ má v saturácii hodnotu Muted.
„Self Portrait“ od Thomas Phillips je v v verejnom vlastníctve – autorské práva vypršali. Doba trvania autorského práva sa začína dňom smrti umelca, ktorého smrť nastala v roku 1845.
Ak si chcete pozrieť náhľad reprodukcie diela „Self Portrait“ od Thomas Phillips, otvorte stránku Náhľad daného diela.
„Self Portrait“ je dostupná ako ručne maľovaná olejná reprodukcia na plátne z ľanu. Objednávku môžete zadať na táto stránka, pričom máte možnosť vybrať si z rôznych veľkostí.
Autorom diela „Self Portrait“ je Thomas Phillips. Prácu nájdete v katalógu pod menom Thomas Phillips.
Digitálnu podobu diela „Self Portrait“ od Thomas Phillips si môžete zakúpiť na táto stránka: stiahnutie digitálneho obrázka vo vysokom rozlíšení.