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Painting by J. Liliedahl, after the painting by Charles Sprague Pearce.
SIZE: 12" x 16", 18" x 24", 30" x 40"
TECHNIQUE: Grid Method of Drawing Enlargement, French Naturalist
all prima method of painting after Charles Sprague Pearce, in the
style of Jules Bastien-LePage, Jules Breton and Leon l'Hermitte.
COMPLETE VIDEO PACKAGE INCLUDES:
- Color Images of painting in progress
- Cartoon Line Drawing
- Color Swatch Reference Guide
- Value Maps
Charles Sprague Pearce was an American painter who studied and
painted in France during the period when the French Naturalist movement
ws born. Led by Jules Bastien-LePage, a new approach to painting
and composition was explored. Painters moved out of doors to paint
from nature, and the landscape was painted as it was observed, and
Innovations in composition were expressed by high horizon lines
and great sweeping landscapes behind figures, which were placed
in the front-most plane of the picture. An immediacy with the viewer
made these paintings a new and powerful statement in the art world
of the time.
Painting outdoors presented the same problems then as now, with
changing light and imperfect painting conditions. Therefore, the
best light was deemed to be that of an overcast day, so that the
movement of the sun would not produce great changes in light and
shadow. A soft, uniform ambient light permeated the paintings of
the Naturalists because of this preference, and the extended outdoor
painting hours it allowed.
The Naturalists painted from life, both for their models and for
their backgrounds. These were not studio creations, although many
of the paintings were large and cumbersome. To allow the artist
to paint such large canvases, portable glass studios were constructed,
some with wood heaters for colder days, so the artist could paint
in comfort away from wind and occasional rain showers.
The original painting, from which this is copied, is called The
Water Carrier, and is in the collection of the Houston Museum of
Fine Arts (MFAH), where I first observed it. Pearce won a third
place medal for the painting in the Paris Salon of 1883, and it
established him as a successful figurative artist within the Parisian