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Study for a Three Panel Screen

Ime Razred Datum

Ellen Lanyon, Study for a Three Panel Screen (1976). Reproducirano v informativne namene; vse pravice so pridržane v rokah upravljavca pravic. Oglejte si to platno pod premikajočo svetlobo: risbe, pravo barvo pod lakom in golo pigmentacijo

Dejavnice

Umetnik
Ellen Lanyon allpaintingsstore.com/sl/artists/ellen-lanyon/
Naslikano
1976
Prvotna velikost
76 x 102 cm

V kontekstu

Study for a Three Panel Screen — Ellen Lanyon

Kakšna je velikost?

Prvotne dimenzije so 76 × 102 cm (višina × širina), prikazane tukaj v primerjavi z odraslo osebo povprečne višine.

Kdaj je bilo to naslikano?

  1. 1960
  2. 1970
  3. 1980
  4. 1990
  5. 2000
  6. 2010

▲ to delo, 1976 vsaka datirana slika, desetletje za desetletjem

Prva dela: do 1971 Glavni delovni leti: 1971–1980 Pozna dela: od 1980

Ti trije pasovi razdelijo dela v tem katalogu, za katera imamo datum, na prvo četrtino, srednjo polovico in zadnjo četrtino. Ne predstavljajo umetnikove popolne produkcije: tanjka obdobja lahko pomeni luknjo v arhivu in ne le obdobje manj intenzivnega ustvarjanja. Iste leta, ki spremljajo življenjsko pot umetnika

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Več podobnih del za kombiniranje z tem: allpaintingsstore.com/sl/art/similar/ellen-lanyon-study-for-a-three-panel-screen-AR236Q-en/

Barvna paleta

Izmerjeno na podlagi slike

    Glavna barva

    Phthalo Green #171616

    Katalogirana paleta

    • #171616
    • #4B4E55
    • #642518
    • #9E9B9B

    Te barve v celotni umetnikovi paleti Poiščite druge slike po barvi

    Paleta barv
    Earthy Prevladujoča barvna družina na sliki.
    Ime glavne barve
    Phthalo Green
    Intenzivnost
    Monochromatic Stopnja zasičenosti in raznolikost barv, od enotnega, zamegljenega odtisa do številnih živahnih barv.
    Kontrast
    Serene V kolikšni meri se barve po svetlini in zasičenosti razlikujejo skozi celotno sliko.
    Harmonija
    Strong Color Unity Stopnja harmonije barv, od kontrastnih do popolnoma ujednotenih.
    Svetlina
    Deep_shadow Razmera svetloosti in temnine slike v celoti, od globokih senc do svetlih visokih svetlob.
    Zasičenost
    Muted Barve so izjemno čiste in močne, od skoraj sivih do popolnoma živahnih.

    Kje po svetu se gleda ta slika?

    • pod 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% in več
    Ta slika sama po sebi nima dovolj zabeleženih obiskovalcev za izdelavo zemljevida, zato plošča prikazuje vsako del avtorja Ellen Lanyon v zadnjih dvanajst mesecih — skupaj 1 držav. Vir podatkov

    Deset vodilnih držav

    1. 1 Združene države Amerike 100,0%100 visits

    Na zemljevidu poiščite tri najtemnejše države. Ali se muzej, ki čuva to sliko, nahaja v kateri izmed njih? Zapišite en razlog, zakaj bi jo lahko obiskovali ljudje z daljave.

    2 najbolj gledanih del umetnika Ellen Lanyon

    1. 1 Wonder Production, Volume I, 1971 100,0%100 visits
    2. — Study for a Three Panel Screen, 1976 ta slika 0,0%0 visits

    Skupaj ti deli predstavljajo 100,0% vse pozornosti, ki so platna te umetnice dobila v zadnjih dvanajst mesecih. Katalog vsebuje 15 del te umetnice, pri čemer je bilo 1 vsaj enkrat ogledanih. Ta slika v tem obdobju še ni bila ogledana — zaključuje seznam brez uvrstitve. Isto velja tudi za posamezne mesece

    Stolpci merijo pozornost, ne kakovost. Izberite del na vrhu in ta: navedite eno stvar, ki bi lahko naredila sliko znano poleg tega, kako je dobro naslikana.

    Umetnik in muzej

    Umetnik

    Ellen Lanyon

    A World Between Dreams and Reality: The Art of Ellen Lanyon

    Ellen Lanyon’s paintings are portals, inviting viewers into a realm where the familiar tilts on its axis and the subconscious takes visible form. Born in Chicago in 1948, her artistic journey began not within the hallowed halls of academia, though she would later attend both the School of the Art Institute of Chicago, the University of Iowa, and even undertake postgraduate studies at the Courtauld Institute in London on a Fulbright fellowship, but amidst the industrial landscape of her father’s foundry. This early exposure to the precise rendering of machine parts instilled in her a meticulous attention to line – a characteristic that would become a hallmark of her distinctive style. But it was a childhood visit to the “Midget Village” at the 1933 Chicago World's Fair, an undeniably surreal spectacle, that left a deeper, more lasting impression, seeding within her imagination a fascination with the uncanny and the disquieting juxtaposition of realities.

    From Portraits to Dreamscapes: The Evolution of a Vision

    Lanyon’s early work focused on intimate portraits of relatives and the spaces they inhabited – quiet studies imbued with a sense of psychological depth. These paintings, created in the late 1950s and 60s, reveal her burgeoning talent for capturing not just likeness but also the atmosphere and emotional weight of domestic life. However, this focus gradually shifted towards more fantastical compositions, populated by animal, vegetal, and floral motifs arranged in dreamlike scenarios. She herself often described these works as “dreamscapes,” a fitting term for paintings that seem to exist on the threshold between waking consciousness and the realm of sleep. This transition wasn’t abrupt; rather, it was a natural unfolding of her artistic concerns – a move away from external representation towards an exploration of inner landscapes. Her art began to embrace surrealism, though she resisted easy categorization, preferring instead to create a unique visual language that blended elements of magical realism with a distinctly personal iconography.

    Influences and Affiliations: A Chicago Voice

    While Lanyon’s style is undeniably singular, it wasn't formed in isolation. During her formative years in Chicago, she became associated with the city’s vibrant Imagist movement – a group of artists known for their rebellious spirit and rejection of conventional artistic norms. Though not strictly aligned with all of their tenets, she shared their interest in exploring the subconscious and challenging traditional notions of beauty. Beyond this local influence, Lanyon's work resonates with the metaphysical art of the 1910s and ‘20s – artists like Giorgio de Chirico whose paintings often featured unsettling juxtapositions of everyday objects and a palpable sense of alienation. Her meticulous technique also owes a debt to earlier masters of realism, though she always employed it in service of her own highly imaginative vision. In the 1970s, Lanyon’s move to New York brought her into contact with the feminist art collective Heresies, further broadening her intellectual and artistic horizons.

    Environmental Awakening: A Shift in Focus

    A pivotal moment in Lanyon's career came in 1976 when she received a commission from the Department of the Interior to work in the Everglades National Park. This experience proved transformative, awakening within her a profound awareness of the environmental crisis and inspiring a new direction in her art. Her paintings began to reflect a deeper engagement with flora and fauna – not merely as decorative motifs but as symbols of vulnerability and resilience. Everyday objects also took on increased significance, imbued with both domestic familiarity and a sense of impending menace. This later work is characterized by a haunting beauty, a delicate balance between the alluring and the unsettling. She began depicting objects from her collection, transforming them into potent emblems of our relationship to the natural world and the fragility of existence.

    Legacy and Significance: A Lasting Impression

    Ellen Lanyon’s art occupies a unique space within the landscape of contemporary painting. Her dreamscapes – meticulously rendered yet profoundly evocative – continue to captivate viewers with their enigmatic beauty and psychological depth. Her works are held in the permanent collections of major American museums, testament to her enduring influence and artistic merit. More than just a surrealist painter or a magical realist, Lanyon was a visionary artist who dared to explore the hidden realms of the subconscious, challenging our perceptions of reality and reminding us of the power of imagination. Her legacy lies not only in the exquisite beauty of her paintings but also in her ability to create worlds that are both deeply personal and universally resonant – worlds that invite us to question, to dream, and to see beyond the surface of things. Her art remains a powerful testament to the enduring human need for meaning and connection in an increasingly fragmented world. Lanyon’s ability to blend meticulous technique with fantastical imagery has cemented her place as a significant figure in American art history.

    Kje si lahko preberete več

    • Umetnik Ellen Lanyon allpaintingsstore.com/sl/artists/ellen-lanyon/
    • Podobna dela Več del za primerjavo allpaintingsstore.com/sl/art/similar/ellen-lanyon-study-for-a-three-panel-screen-AR236Q-en/

    Skenirajte za več informacij

    QR koda za dostop do strani za prenos Study for a Three Panel Screen

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    Citiranje umetniškega dela

    MLA
    Lanyon, Ellen. Study for a Three Panel Screen. 1976, https://allpaintingsstore.com/sl/art/ellen-lanyon-study-for-a-three-panel-screen-AR236Q-en/
    APA
    Lanyon, Ellen (1976). Study for a Three Panel Screen [Painting]. https://allpaintingsstore.com/sl/art/ellen-lanyon-study-for-a-three-panel-screen-AR236Q-en/
    Chicago
    Ellen Lanyon. Study for a Three Panel Screen. 1976. https://allpaintingsstore.com/sl/art/ellen-lanyon-study-for-a-three-panel-screen-AR236Q-en/
    Harvard
    Lanyon, Ellen (1976) Study for a Three Panel Screen. Available at: https://allpaintingsstore.com/sl/art/ellen-lanyon-study-for-a-three-panel-screen-AR236Q-en/

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    Study for a Three Panel Screen — Ellen Lanyon

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    Vprašanja in odgovori

    Katera je prevladujoča barva dela "Study for a Three Panel Screen" avtorja Ellen Lanyon?

    Prevladujoča barva dela "Study for a Three Panel Screen" avtorja Ellen Lanyon je Phthalo Green (#171616).

    Kakšna je dejanska velikost dela "Study for a Three Panel Screen" avtorja Ellen Lanyon?

    Dimenzije originalnega dela "Study for a Three Panel Screen" avtorja Ellen Lanyon so 76 x 102 cm.

    Ali je delo "Study for a Three Panel Screen" avtorja Ellen Lanyon v javni lastini?

    V zvezi z avtorskimi pravicami je "Study for a Three Panel Screen" v še vedno pod avtorsko zaščito.