查询补充说明历史沿革市场洞察力拍卖记录博物馆藏品其他资源鉴定同类作品
返回

北卡罗来纳州（1882-1945 年）

艺人简介 咨询下载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.
1620年 "五月花 "号的到来1941104 1/2 x 158 3/4 in.(265.43 x 403.23 cm)布面油画
种源
大都会人寿保险公司。公司藏品（委托纽约办事处制作）。
希瑟-詹姆斯美术公司，纽约
展会信息
纽约，1985年，第13期，"五月花号的到来"
文学
"朝圣者的日子再次活在我们的壁画中"，《内政部》（大都会人寿保险公司的出版物），第23卷第7期（1941年12月）。
N.C.怀斯，1941年所得税说明（未发表，布兰迪河博物馆图书馆）
道格拉斯-艾伦和小道格拉斯-艾伦，N.C.怀斯，绘画、插图和壁画集（纽约：皇冠出版社，1972）。...更。。。 第1页。169-172页，图文并茂，第169页。
Robert San Souci, N. C. Wyeth's Pilgrims (San Francisco, CA: Chronicle Books, 1991), 详细插图。在正面插图上
Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (London: Scala, 2008), M.67, p. 629
...少。。。
返回
询问

"我希望我感到满意的时候永远不会到来。要达到一个人的野心的目标，必须是悲剧性的。"- N.C. Wyeth

关于1620年 "五月花 "号的到来

下载PDF
  • 构图绘画

    构图绘画

    N.C. Wyeth为大都会生活馆壁画《五月花号的到来》（1940/1941）绘制的构图图稿。
  • 在我们的画廊展出

    在我们的画廊展出

    "1620年五月花号的到来"（1941年）在我们位于加州棕榈沙漠的画廊展出。

N.C.怀斯作为插图画家的非凡技能源于无可挑剔的绘图技巧，而作为画家，他对色彩的热情、和谐的感觉，以及捕捉光线本身质量的能力。但是，我们最钦佩的是他在用强大的情绪感来生动故事和人物方面无与伦比的艺术能力--他有能力把自己带到他所创作的世界和时间，并以一种诱人的信念感来传达它。这种能力在《金银岛》的 "再走一步，手先生！"的复杂构图中是显而易见的，就像在这里，在对一艘方形船、十七世纪的商船在海上翻滚的简要叙述中一样。1620年 "五月花号 "的到来 是对可观察到的事实的简单陈述，但怀斯作为一个插图画家的无可挑剔的天才为它注入了令人振奋的盐雾和味道，捕捉到了那些在很大程度上被认为是建立了美国的男人和女人的冒险精神。这种精神体现在风和绷紧的船帆上，体现在船在强风中摇摆的姿态上，体现在插入的、流线型的云层上，体现在欢呼雀跃的海鸥上，因为它们是天意的羽翼天使，引导船到达安全的港湾。

1620年 "五月花号 "的到来 是基于两份研究报告，一份石墨构图画和一份小型演示画。完成的壁画似乎是在1941年安装的。

"在我的思想和心灵中，很自然地飞向普利茅斯，飞向朝圣者，作为一系列新英格兰绘画的合适主题。如果这些画的温暖和吸引力对研究它们的人来说是显而易见的，那主要是因为它们以某种相关的方式陈述了我自己的生活和遗产"。- N.C. Wyeth

历程

在没有电视和电影还处于起步阶段的时候，N.C.怀斯的插图使他视觉上塑造和注释的故事充满了活力。作为《金银岛》的年轻读者，谁能拒绝继续阅读下一幅光鲜的插图的紧迫感？或者，在兴奋的期待中，反复翻阅书页，看前面的图片，如此活泼、生动和充满勇气？  

1939年，大都会人寿公司向怀斯提供了一个不同类型的委托；一系列的帆布壁画，也许不太依赖夸夸其谈，而是依赖对时间和地点的深刻认识。他们将提供一个充满活力和宏伟的愿景，并通过庆祝表达美国意义的强大价值观来表达民族自豪感的精神。怀斯很兴奋。他同意制作的14幅壁画将使朝圣者的世界焕发生机，并 "作为新英格兰精神的图形和戏剧性表达"（道格拉斯-艾伦等人，N.C.怀斯。 N. C. Wyeth:The Collected Paintings, Illustrations, and Murals, pg . 169）。 怀斯是一位具有无与伦比的技巧的艺术家，他对他的叙述中的人物的真实性进行了充分的投资，他很高兴有机会传达他对祖先的过去感到自豪。

"早期殖民的浪漫，特别是马萨诸塞州的朝圣者，一直让我感到兴奋。我的祖先尼古拉斯-怀斯于1647年从威尔士来到马萨诸塞州。马萨诸塞州海岸的早期精神是我家里经常讨论的话题。我出生在尼德姆，离普利茅斯镇不远，在我的童年时代，我曾多次前往普利茅斯镇朝圣，在那片历史悠久的土地上和周围度过惊险的日子。以此为背景，在我的脑海中自然而然地飞向普利茅斯和朝圣者，作为一系列新英格兰绘画的合适主题。如果说这些画的温暖和吸引力对研究它们的人来说是显而易见的，那主要是因为它们以某种相关的方式陈述了我自己的生活和遗产"。(道格拉斯-艾伦等人，《N.C.怀斯。绘画、插图和壁画集》，第171页）。

更
"将小的提升为大的，就是天才"。- N.C. Wyeth

市场情报

  • 艺术市场研究公司绘制的图表显示，自 1976 年以来，N.C. 怀斯的绘画作品以 11% 的复合年增长率增长。

  • 2018年，N.C. 怀斯的拍卖价格创下新纪录，一幅1943年创作的小型画作《一个农民的肖像》（Portrait of a Farmer）以近600万美元的价格成交。

  • 怀斯的画作从未在拍卖会上出现过如此巨大的规模。

N.C.Wyeth拍卖的热门结果

文艺复兴时期面板上的淡彩画，40 x 60英寸。在纽约苏富比售出：2018年5月23日。

"Portrait of a Farmer (Pennsylvania Farmer)" (1943)以5,985,900美元成交。

文艺复兴时期面板上的淡彩画，40 x 60英寸。在纽约苏富比售出：2018年5月23日。
布面油画，43 x 30英寸。在纽约佳士得售出：2016年11月22日。

"举起手来"（1906年）以4,951,500美元成交。

布面油画，43 x 30英寸。在纽约佳士得售出：2016年11月22日。
布面油画，46 x 69 1/4英寸。在纽约佳士得拍卖会上出售：2020年10月28日。

"Indian Love Call"（1927年）以351万美元成交。

布面油画，46 x 69 1/4英寸。在纽约佳士得拍卖会上出售：2020年10月28日。

博物馆收藏的N.C. Wyeth画作

"The Lobsterman (The Doryman)"（1944年），蛋彩画在木头上，23 1/4 x 47 1/4英寸。

大都会艺术博物馆，纽约

"The Lobsterman (The Doryman)"（1944年），蛋彩画在木头上，23 1/4 x 47 1/4英寸。
我们的生命取决于我们的舵手（1940 年），硬纸板（文艺复兴时期画板）上的油画，30 x 20 1/2 英寸。

费城艺术博物馆，宾夕法尼亚州

我们的生命取决于我们的舵手（1940 年），硬纸板（文艺复兴时期画板）上的油画，30 x 20 1/2 英寸。
"岛屿的葬礼"（1939年），蛋彩和油画在硬板上，44 1/2 x 52 3/8英寸。

布兰迪河艺术博物馆，查德福特，宾夕法尼亚州

"岛屿的葬礼"（1939年），蛋彩和油画在硬板上，44 1/2 x 52 3/8英寸。
"他们带着妻子出游"（约1938年），板上油画，34 x 24英寸。

皮博迪埃塞克斯博物馆，塞勒姆，马萨诸塞州

"他们带着妻子出游"（约1938年），板上油画，34 x 24英寸。
"水葬"（1906），布面油画，24 x 38英寸。

吉尔克雷斯博物馆，图尔萨，俄克拉荷马州

"水葬"（1906），布面油画，24 x 38英寸。
"将小的提升为大的，就是天才"。- N.C. Wyeth

图片库

  • Wyeth40062_gallery1
  • Wyeth40062_gallery2
  • Wyeth40062_gallery3
  • Wyeth40062_gallery4
  • Wyeth40062_gallery5
  • Wyeth40062_gallery6
  • Wyeth40062_gallery7
  • Wyeth40062_gallery8
  • Wyeth40062_gallery9
  • Wyeth40062_gallery10
  • Wyeth40062_gallery11
  • Wyeth40062_gallery12
  • Wyeth40062_gallery13
  • Wyeth40062_gallery1
  • Wyeth40062_gallery2
  • Wyeth40062_gallery3
  • Wyeth40062_gallery4
  • Wyeth40062_gallery5
  • Wyeth40062_gallery6
  • Wyeth40062_gallery7
  • Wyeth40062_gallery8
  • Wyeth40062_gallery9
  • Wyeth40062_gallery10
  • Wyeth40062_gallery11
  • Wyeth40062_gallery12
  • Wyeth40062_gallery13

其他资源

阅读著名画家、N.C. Wyeth的儿子Andrew Wyeth撰写的N.C. Wyeth的传记。

安德鲁-怀斯的 "我的父亲"

阅读著名画家、N.C. Wyeth的儿子Andrew Wyeth撰写的N.C. Wyeth的传记。
通过布兰迪河艺术博物馆的这段视频，可以虚拟地参观艺术家在宾夕法尼亚州查德福特的家和工作室。

N.C. Wyeth之家和工作室

通过布兰迪河艺术博物馆的这段视频，可以虚拟地参观艺术家在宾夕法尼亚州查德福特的家和工作室。
请看这幅画的构图图稿，《1620年五月花号的到来》（1941年）。

构图绘画

请看这幅画的构图图稿，《1620年五月花号的到来》（1941年）。

询问

查询 - 艺术单品

你可能也喜欢