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العودة

N.C. WYETH (1882-1945)

الفنان بيو الاستفسارحميل PDF
 
N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941.
مجيء ماي فلاور في 16201941104 1/2 × 158 3/4 بوصة. (265.43 × 403.23 سم) زيت على قماش
الاصل
MetLife, Inc. مجموعة الشركات (بتكليف من مكاتب نيويورك)
هيذر جيمس للفنون الجميلة ، نيويورك
معرض
نيويورك، نيويورك، 1985، العدد 13، "مجيء ماي فلاور"
الادب
"أيام الحجاج يعيشون مرة أخرى في جدارياتنا" ، وزارة الداخلية (منشور شركة متروبوليتان للتأمين على الحياة) ، المجلد 23. العدد 7 (كانون الأول/ديسمبر 1941)
N. C. Wyeth ، ملاحظات ضريبة الدخل لعام 1941 (غير منشورة ، مكتبة متحف نهر برانديواين)
دوغلاس ألين ودوغلاس ألين جونيور ، ن. س. وايث ، اللوحات المجمعة والرسوم التوضيحية والجداريات (نيويورك: كراون للنشر ، 1972) ،... اكثر... ص 169-172، وضح ب/ث ص 169.
روبرت سان سوسي ، N. C. Wyeth's Pilgrims (سان فرانسيسكو ، كاليفورنيا: Chronicle Books ، 1991) ، تفاصيل توضيحية. على الواجهة الأمامية
كريستين ب. بودمانيتشكي ، ن. س. وايث ، كتالوج رايسونيه من اللوحات (لندن: سكالا ، 2008) ، M.67 ، ص 629
... اقل...
العودة
الاستفسار

"آمل ألا يأتي الوقت الذي سأشعر فيه بالرضا. للوصول إلى هدف طموحات المرء يجب أن يكون مأساويا." - N.C. Wyeth

حول مجيء ماي فلاور في عام 1620

تحميل PDF
  • رسم التكوين

    رسم التكوين

    رسم تكوين N.C. Wyeth لجدارية Metropolitan Life "The Coming of the Mayflower" (1940/1941).
  • على العرض في معرض الصور الخاص بنا

    على العرض في معرض الصور الخاص بنا

    "مجيء ماي فلاور في عام 1620" (1941) معروض في معرضنا في بالم ديزرت ، كاليفورنيا.

كانت مهارات N.C. Wyeth الاستثنائية كرسام نابعة من الصياغة التي لا تشوبها شائبة وكرسام ، وإحساسه الغني والمتناغم بالألوان ، والقدرة على التقاط جودة الضوء نفسه. ولكن فنه الذي لا مثيل له في إحياء القصة والشخصية بإحساس قوي بالمزاج هو ما يعجبنا أكثر من أي شيء آخر - القدرة على نقل نفسه إلى العالم ووقت خلقه ونقله بإحساس خادع بالاقتناع. وتتضح هذه القدرة في التعقيدات التركيبية لكتاب جزيرة الكنز "خطوة أخرى يا سيد الأيدي!" كما هو الحال هنا، في السرد الموجز لسفينة تجارية مربعة من القرن السابع عشر تم قذفها في البحار. إن فيلم The Coming of the Mayflower في عام 1620 هو بيان بسيط للحقائق التي يمكن ملاحظتها ، ومع ذلك فإن عبقرية وايث التي لا تشوبها شائبة كرسام تشبعها بالهواء المالح والذوق الذي يلتقط روح المغامرة للرجال والنساء الذين ينسب إليهم الفضل إلى حد كبير في تأسيس أمريكا. يتم حمل هذه الروح على الريح والأشرعة المشدودة ، والكعب الرقيق للسفينة عند أنف عاصفة قاسية ، والسحب الدافعة ، والسحب المتدفقة ، والنوارس التي تم ترتيبها بسخرية للاحتفال بالوصول لأنها ملائكة العناية الإلهية ذات الريش التي تقودها إلى الملاذ الآمن.

استند مجيء ماي فلاور في عام 1620 إلى دراستين ، رسم تكوين في الجرافيت ولوحة عرض تقديمي صغيرة. يبدو أن الجدارية النهائية قد تم تركيبها في عام 1941.

"كان من الطبيعي أن يطير في ذهني وقلبي إلى بليموث وإلى الحجاج كموضوع مناسب لسلسلة من لوحات نيو إنجلاند. إذا كان دفء هذه اللوحات وجاذبيتها واضحين لأولئك الذين يدرسونها ، فذلك يرجع أساسا إلى أنها ، بطريقة ذات صلة ، بيان لحياتي وتراثي. " - N.C. Wyeth

التاريخ

قبل أن يكون هناك تلفزيون وفي وقت كان فيه الفيلم لا يزال في مهده ، كانت الرسوم التوضيحية ل N. C. Wyeth كهربة القصص التي شكلها بصريا وشرحها. كقارئ شاب ل "جزيرة الكنز" ، من يستطيع أن ينكر الحاجة الملحة للقراءة في الرسم التوضيحي اللامع التالي؟ أو ، في ترقب متحمس ، الإبهام من خلال الصفحات مرارا وتكرارا إلى الصور المقبلة ، حية جدا وحية ومليئة بالتبجح؟  

في عام 1939 ، عرضت شركة Metropolitan Life Company على Wyeth عمولة من نوع مختلف. سلسلة من الجداريات القماشية التي من شأنها أن تعتمد بشكل أقل على التبجح ، ربما ، ولكن بدلا من ذلك ، على إحساس عميق بالزمان والمكان. سيقدمون رؤية حيوية وعظيمة ويعبرون عن روح الفخر الوطني من خلال الاحتفال بالقيم القوية التي تعبر عما يعنيه أن تكون أمريكيا. كان وايث سعيدا. من شأن الألواح الجدارية الأربعة عشر التي وافق على إنتاجها أن تجلب عالم الحجاج إلى الحياة المتوهجة و "بمثابة تعبير بياني ودرامي عن روح نيو إنجلاند" (دوغلاس ألين ، وآخرون ، N. C. Wyeth: The Collection Paintings ، Illustrations ، and Murals ، pg. 169).  وايث، وهو فنان ذو مهارة لا مثيل لها واستثمر بشكل كامل في أصالة الشخصيات التي تملأ رواياته، استمتع بفرصة التعبير عن الفخر الذي شعر به تجاه ماضي أجداده.

"كانت رومانسية الاستعمار المبكر ، وخاصة رومانسية الحجاج في ماساتشوستس ، تثيرني دائما. جاء سلفي نيكولاس وايث من ويلز إلى ماساتشوستس في عام 1647. كانت روح الأيام الأولى على ساحل ماساتشوستس موضوعا نوقش كثيرا في منزلي. ولدت في نيدهام ، وليس بعيدا عن مدينة بليموث ، التي قمت بالعديد من رحلات الحج إليها خلال فترة صبتي ، وأقضي أياما مثيرة في تلك المنطقة التاريخية وحولها. مع هذا كخلفية ، كان من الطبيعي أن يطير في ذهني وقلبي إلى بليموث وإلى الحجاج كموضوع مناسب لسلسلة من لوحات نيو إنجلاند. إذا كان دفء هذه اللوحات وجاذبيتها واضحين لأولئك الذين يدرسونها ، فذلك يرجع أساسا إلى أنها ، بطريقة ذات صلة ، بيان لحياتي وتراثي ". (دوغلاس ألين ، وآخرون ، ن.C. وايث: اللوحات المجمعة والرسوم التوضيحية والجداريات ، ص 171)

اكثر
"إن رفع الصغير إلى العظيم هو عبقرية." - N.C. Wyeth

رؤى السوق

  • يظهر الرسم البياني الذي أعدته Art Market Research أن لوحات NC Wyeth قد زادت بمعدل نمو سنوي مركب بنسبة 11٪ منذ عام 1976.

  • تم تحديد السعر القياسي ل NC Wyeth في المزاد في عام 2018 عندما بيعت لوحة Portrait of a Farmer ، وهي لوحة أصغر من عام 1943 ، مقابل ما يقرب من 6 ملايين دولار.

  • لم تظهر أي لوحات NC Wyeth على أنها ضخمة الحجم في المزاد.

أفضل النتائج بالنسبة ل N.C. Wyeth at Auction

Tempera على لوحة عصر النهضة، 40 × 60 بوصة. يباع في سوذبيز نيويورك: 23 مايو 2018.

"صورة مزارع (مزارع بنسلفانيا)" (1943) بيعت مقابل 5,985,900 دولار أمريكي.

Tempera على لوحة عصر النهضة، 40 × 60 بوصة. يباع في سوذبيز نيويورك: 23 مايو 2018.
زيت على قماش، 43 × 30 بوصة. يباع في كريستيز نيويورك: 22 نوفمبر 2016.

بيع فيلم "Hands Up" (1906) مقابل 4,951,500 دولار أمريكي.

زيت على قماش، 43 × 30 بوصة. يباع في كريستيز نيويورك: 22 نوفمبر 2016.
زيت على قماش، 46 × 69 1/4 بوصة. يباع في كريستيز نيويورك: 28 أكتوبر 2020.

تم بيع "نداء الحب الهندي" (1927) مقابل 3,510,000 دولار أمريكي.

زيت على قماش، 46 × 69 1/4 بوصة. يباع في كريستيز نيويورك: 28 أكتوبر 2020.

لوحات N.C. Wyeth في مجموعات المتحف

"The Lobsterman (The Doryman)" (1944) ، مزاج البيض على الخشب ، 23 1/4 × 47 1/4 بوصة.

متحف متروبوليتان للفنون، نيويورك

"The Lobsterman (The Doryman)" (1944) ، مزاج البيض على الخشب ، 23 1/4 × 47 1/4 بوصة.
"محاكمة القوس" (1929)، زيت على قماش، 58 × 45 3/4 × 2 1/4 بوصة.

متحف فيلادلفيا للفنون ، بنسلفانيا

"محاكمة القوس" (1929)، زيت على قماش، 58 × 45 3/4 × 2 1/4 بوصة.
"جنازة الجزيرة" (1939) ، مزاج البيض والزيت على اللوح الصلب ، 44 1/2 × 52 3/8 بوصة.

متحف نهر براندي واين للفنون ، شادس فورد ، بنسلفانيا

"جنازة الجزيرة" (1939) ، مزاج البيض والزيت على اللوح الصلب ، 44 1/2 × 52 3/8 بوصة.
"أخذوا زوجاتهم معهم في رحلاتهم البحرية" (حوالي 1938) ، زيت على متن الطائرة ، 34 × 24 بوصة.

متحف بيبودي إسيكس ، سالم ، ماساتشوستس

"أخذوا زوجاتهم معهم في رحلاتهم البحرية" (حوالي 1938) ، زيت على متن الطائرة ، 34 × 24 بوصة.
"دفن الماء" (1906) ، زيت على قماش ، 24 × 38 بوصة.

متحف جيلكرايس ، تولسا ، أوكلاهوما

"دفن الماء" (1906) ، زيت على قماش ، 24 × 38 بوصة.
"إن رفع الصغير إلى العظيم هو عبقرية." - N.C. Wyeth

معرض الصور

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موارد إضافية

اقرأ هذه السيرة الذاتية ل N.C. Wyeth التي كتبها أندرو وايث ، الرسام الشهير وابن N.C. Wyeth.

"أبي" لأندرو وايث

اقرأ هذه السيرة الذاتية ل N.C. Wyeth التي كتبها أندرو وايث ، الرسام الشهير وابن N.C. Wyeth.
قم بجولة افتراضية في منزل الفنان والاستوديو في شادس فورد ، بنسلفانيا من خلال هذا الفيديو من متحف نهر براندي واين للفنون.

ذا إن .C وايث هاوس آند ستوديو

قم بجولة افتراضية في منزل الفنان والاستوديو في شادس فورد ، بنسلفانيا من خلال هذا الفيديو من متحف نهر براندي واين للفنون.
انظر رسم التكوين لهذه اللوحة ، "مجيء ماي فلاور في عام 1620" (1941).

رسم التكوين

انظر رسم التكوين لهذه اللوحة ، "مجيء ماي فلاور في عام 1620" (1941).

الاستفسار

الاستعلام - الفن واحد

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