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A First Line Dressing Station, Doberdo, Isonzo Front, Italy
Ročno slikana oljna reprodukcija od $181 37 × 27 cm
Velikost kot pri originalu $1005 192 × 148 cm Naročite v originalni velikosti →
A First Line Dressing Station, Doberdo, Isonzo Front, Italy (1917) je najbolj znano delo umetnika Guy Lipscombe. Arthur Nikisch (1912) in The Arrival of the First Guns on the Carso Front, Italy, 1916 (1917) sta naslednji dve dela, ki jih svet najbolje pozna. Od 10 del umetnika Guy Lipscombe v našem katalogu so tu tista 10, ki jih zbiratelji in obiskovalci muzejev najpogosteje opazujejo, vključno z letnico, muzejom in zgodbojo vsakega dela.
Uvrščeno na podlagi naše ocene priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzeji | Mesto | Sloga Guy Lipscombe | Slike iz tega seznama |
|---|---|---|---|
 Royal College of Music Museum |
London | 1 | Arthur Nikisch |
A First Line Dressing Station, Doberdo, Isonzo Front, Italy (1917). Nato sledeta Arthur Nikisch (1912) in The Arrival of the First Guns on the Carso Front, Italy, 1916 (1917).
36 let: delo A First Line Dressing Station, Doberdo, Isonzo Front, Italy iz leta 1917, pri čemer je Guy Lipscombe rodil/a v 1881.
A First Line Dressing Station, Doberdo, Isonzo Front, Italy, Arthur Nikisch, The Arrival of the First Guns on the Carso Front, Italy, 1916, British Red Cross Ambulance, Italian Front, 1916, Castelfranco Italian Troops Resting en Route to the Piave Front, First World War A Group of Casualties in a Room under a Gas Lamp, A Garden in Summer, Invasion Training in Cornwall, St Andrew's as a Garden Church in Cockington, Torquay. Zgornja lestica prikazuje leto in muzej za vsako od njih.
V našem katalogu je navedenih 10 del avtorja Guy Lipscombe, datiranih od 1912 do 1944.
Večina njih se nahaja v Royal College of Music Museum (London). Zgornja tabela navaja muzeje posamezno.
V obdobju 1910s: 6 od 10 del na tej strani izvira iz tega obdobja, med katerimi je A First Line Dressing Station, Doberdo, Isonzo Front, Italy.
Najstarejšo delo na tej strani je iz Arthur Nikisch (1912), najnovejše pa iz Invasion Training in Cornwall (1944).
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
Guy Lipscombe (1881 – 1952) remains a captivating figure in the annals of British art, a painter whose brush possessed the rare ability to oscillate between the serene beauty of the natural world and the harrowing realities of human conflict. Born in Teddington, London, on August 22, 1881, Lipscombe’s artistic journey was forged in some of the most prestigious institutions of his era. His meticulous training at Hatherley’s School of Art and the Slade School of Art, further enriched by a coveted scholarship at the Royal Academy Schools, provided him with a formidable technical foundation. This rigorous academic background allowed him to master the nuances of light and form, a skill that would later serve him both in the sun-drenched landscapes of Cornwall and the somber, gas-lit rooms of the Italian Front.
Before he became a chronicler of war and landscape, Lipscombe established himself as a masterful illustrator. In the early years of the twentieth century, his keen eye for movement and mechanical precision found a home in the pages of “The Motor,” a publication founded in 1903. His ability to capture the kinetic energy of early automobiles—most notably seen in his depiction of the 1907 French Grand Prix—solidified his reputation as an artist capable of rendering both speed and intricate detail. This period of his life, characterized by a fascination with the burgeoning age of technology, instilled in him a precision that would later lend a profound sense of realism to his more emotive works.
While his early career was defined by the mechanical, Lipscombe’s heart belonged to the landscape. Influenced heavily by the St Ives School, he embraced the plein air tradition, seeking to capture the ephemeral qualities of light as it danced across the Cornish coastline. His canvases from this period are celebrated for their vibrant palettes and expressive brushwork, reflecting an emotional depth that sought to convey the very soul of the landscape. He did not merely paint scenery; he painted the atmosphere, the salt spray, and the ethereal glow that defines the British coast.
However, the trajectory of his life and art was irrevocably altered by the outbreak of the Great War. Driven by a sense of duty, Lipscombe volunteered as a driver for the British Red Cross Society, serving with the No. 3 British Red Cross Ambulance Unit on the Italian Front. This transition from observer of light to witness of tragedy brought about a profound shift in his creative output. The landscapes of peace were replaced by the stark, often devastating imagery of combat and its aftermath. His experiences in Italy yielded several monumental oil paintings that serve as haunting historical documents, including:
These works, several of which were commissioned by and now reside within the prestigious collection of the Imperial War Museum, stand as powerful testimonies to the era’s anxieties. Through his art, Lipscombe bridged the gap between the aesthetic beauty of the natural world and the visceral, often grim, realities of history. His ability to navigate these two extremes—the tranquil Cornish light and the shadows of the Italian Front—ensures his enduring significance as an artist who captured the full spectrum of the human experience during one of the most transformative periods in modern history.