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約翰·弗雷德里克·肯塞特(John Frederick Kensett,1816年3月22日-1872年12月14日)是一位美國(guó)風(fēng)景畫家和雕刻家,他是哈德遜河派的第二代成員,其所會(huì)的風(fēng)景畫主要取材自新英格蘭和紐約州。 其早期作品受哈德遜河派創(chuàng)始人托馬斯·科爾影響較大,但風(fēng)格較為保守,并不像科爾那樣使用熱烈的色彩,也不常以地貌之奇取勝。其成熟時(shí)期的作品色彩淡雅,主要描繪平靜的海岬及水面 ??先匾彩谴蠖紩?huì)藝術(shù)博物館的創(chuàng)始人之一。
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約翰·弗雷德里克·肯塞特(John Frederick Kensett,1816年3月22日-1872年12月14日)是一位美國(guó)風(fēng)景畫家和雕刻家,他是哈德遜河派的第二代成員,其所會(huì)的風(fēng)景畫主要取材自新英格蘭和紐約州。 其早期作品受哈德遜河派創(chuàng)始人托馬斯·科爾影響較大,但風(fēng)格較為保守,并不像科爾那樣使用熱烈的色彩,也不常以地貌之奇取勝。其成熟時(shí)期的作品色彩淡雅,主要描繪平靜的海岬及水面 ??先匾彩谴蠖紩?huì)藝術(shù)博物館的創(chuàng)始人之一。
影視作品
風(fēng)景(紐約西點(diǎn)附近的酒店視角)
伊頓斯內(nèi)克角(長(zhǎng)島)
At once amplifying and simplifying a pictorial design the artist first broached in his Shrewsbury River, New Jersey, compositions of the 1850s, Eaton's Neck is unusual if not unique in Kensett's oeuvre for its Long Island subject. On the other hand, recording the site, on Long Island's north shore near Huntington in Suffolk County, would have required perhaps an hour's sail or less across the Long Island Sound from Kensett's studio off Darien, Connecticut. Like virtually all the paintings found in the studio at the artist's death in 1872, Eaton's Neck is unsigned and undated, and its state of completion is, at best, ambiguous. Kensett, for instance, worked the shoreline foliage into a state of finish comparable to works that he signed and sold, but the apparent sailboats punctuating the distant horizon are plotted without being fully articulated, as they are in finished works. Still, given the reductive character of almost all Kensett's late paintings, this synthesis of uninflected land, water, and sky engages the spectator equally with, if not more than, any in the same gallery by the artist or his Hudson River School colleagues.
巖石天堂(于紐波特)
海灘(于馬薩諸塞州貝弗利)
什魯斯伯里河(新澤西州視角)
華盛頓山(康威山視角)
老松樹(于康涅狄格州達(dá)里恩)
捕鱒魚的漁夫
羅德島紐波特附近
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