Charles Prendergast, 1917 - Thiên thần - tranh in mỹ thuật

Sản phẩm nghệ thuật hiện đại kiệt tác Thiên thần được vẽ bởi Charles Prendergast. Phiên bản của kiệt tác được tạo ra với kích thước tuyệt đối: Overall (with engaged frame): 25 1/2 x 33 1/2 in (64,8 x 85,1 cm) và được vẽ trên phương tiện tempera, graphite, silver and gold leaf on carved, incised gessoed panel. Today, the artwork belongs to the Barnes Foundation's art collection. With courtesy of Phép lịch sự của Quỹ Barnes, Merion và Philadelphia, Pennsylvania (giấy phép - phạm vi công cộng).Furthermore, the artpiece has the following creditline: . Furthermore, alignment of the digital reproduction is in landscape định dạng với tỷ lệ bên là 4: 3, có nghĩa là chiều dài hơn chiều rộng 33%.

Thông tin ban đầu về tác phẩm nghệ thuật từ bảo tàng (© Bản quyền - bởi Barnes Foundation - www.barnesfoundation.org)

Charles Prendergast, Maurice's younger brother, was a unique artist-craftsman whose medium of expression set him apart from other artists of his generation. He began making gessoed panels in 1912. The first compositions were based on religious themes and prototypes. Despite the Christian imagery, the pictorial sources for Charles's panels are found in a broad range of Eastern and Western traditions—Persian, Chinese, Byzantine, Egyptian, Coptic, Roman, and Etruscan—which he freely interpreted according to his "fancy". The technique known as japanning, a specialty of some 18th-century Boston cabinetmakers, was another important source for the artist. Japanning was a Western imitation of oriental lacquer work in which figures were modeled in low relief in gesso, with metal (silver and/or gold leaf) subsequently applied on a black or red painted background. Prendergast's own technique was characterized in 1919:"The method employed by Mr. Prendergast in making these panels differs somewhat from the tradition. It is more than merely a flat painting and gilding on plaster. The wood he rises is the sugar pine, or, where possible to procure, fine old white pine. On the surface the outline of his cartoon is transferred with charcoal, and the deeper lines are incised with gouges and chisels. Over this is spread several coats of gesso plaster, and while this is still wet, the more delicate lines are traced with a fine steel point. Over such figures and details as are to be gilded is spread a second coat of special plaster. And when all this has been thoroughly dried and all roughness removed by sandpaper and pumice stone, it is ready for the application of gold and silver leaf and color. Unlike an oil painting, there is little opportunity to correct mistakes in color. The plaster is so absorbent that the artist must be certain of his color scheme before he applies the brush". (M. D. C. Crawford, "The Carved Gesso Panels of Charles E. Prendergast", Country Life in America, September 1919)Richard J. Wattenmaker, American Paintings and Works on Paper

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