Thursday, 3 October 2013

Scenery Pencil Sketches Of Nature Of Sceneries Landscapes Of Flowers Of Girls Of People Tumblr Of Roses Of Eyes Of Love

Scenery Pencil Sketches Biography

Watercolourist and sketcher, was born in England in the early 1800s, daughter of Charles Woodcock. In 1836 she became the second wife of Francis Russell Nixon ; they had eight children. Her husband was appointed first bishop of Tasmania and the couple arrived at Hobart Town on 18 July 1843 with their children and servants. Mrs Nixon sketched virtually everywhere she went, using her sketches as part of her prolific correspondence with her family and friends in England. She was a fine draughtsperson but underrated her own work, being always eager to defer to the bishop’s superior artistic talents. After a trip from home late in 1844 she wrote to her family: 'I have been very diligent in sketching for you, but I must wait to send you the result of my poor efforts to illustrate my tour till the bishop has seen and corrected the same’.

She often sent home copies she had made of her husband’s drawings rather than her own originals. For instance, she sent copies of the bishop’s views of the Derwent River (Tasmania) and of the approach to Cape Town made on the voyage out in 1843, although when the Cape was sighted she noted, 'the bishop and I and Mr. Godfrey [q.v.] sketched most vigorously till about one’. Since Frederick then fell and sprained his wrist, subsequent views were by her alone: 'The Bishop and I were quite delighted with the scenery, and it was a great mortification to us both that he was not able to sketch’. Her own sketches made when approaching Hobart Town were sent home to her father in a letter of 18 July 1843, to give 'some faint idea of the beauty and grandeur of the coast. No 1 is Bruny Island with the Friar Rocks at the extreme point; and No 2 is our first view of Mount Wellington’.

A student of the picturesque (like the bishop), Nixon did not always find the Tasmanian landscape to her taste, although at times she imagined that it resembled Italy, which she loved. Nevertheless, the vast majority of her Australian works are views, many unsigned and most undated. On a trip made up country without her husband in October-November 1844, she drew numerous scenes and passed discriminating comments on the local vegetation. The Tasmanian Museum and Art Gallery holds a number of these landscape sketches, including two pencil drawings of Entally , a pencil and wash sketch Near Entally , and a pencil drawing, Ben Lomond and Valley of the Esk . Most are stylistically indistinguishable from her husband’s work but an occasional example hints at a distinctive artistic personality, including an attributed watercolour and ink view dated December 1847 showing Bishop Nixon’s short-lived school, Mayfield Farm, on part of the Bishopsbourne endowment, with charmingly bonneted little orphan girls in the foreground (TMAG).

The Queen Victoria Museum and Art Gallery holds Nixon’s pencil sketch of the Archer property Woolmers, dated 22 December 1847, and a view of South Esk. Another watercolour is found in the album of her friend Johannah Crear (NLA). It is also extremely likely that she is the mysterious A.M . who signed several watercolours of Norfolk Island and Port Arthur and made copies of Bishop Nixon’s views of the same places (DL) as well as filling a sketchbook with rough sketches of Norfolk Island (ML). Although Anna Maria normally used her full initials 'A.M.N’., Bishop Nixon referred to her as 'A.M.’.

Like other women artists, Nixon documented her domestic life. Drawings sent home to her family included a plan of their first residence in Davey Street, Hobart Town ('next door to Mr Bicheno’s’ [q.v.]), enclosed with a letter dated 29 September 1843: 'not very correct, I fear, as to the proportions, but perhaps the Bishop will send you a better one day’. A view of the one-roomed cottage at the bottom of their garden for their carpenter and odd-job man, Bailey, was enclosed with a letter dated 1 October 1843: 'I have made you a little sketch of this from our sitting-room window, though it can convey no idea to you of the beauty of the scene’.

Her most original and unusual work is The Drawing Room with Organ (1845, TMAG), a small pencil sketch highlighted with white which provides a rare and minutely-detailed view of a domestic interior. It has the added virtue of being accompanied by her plan and a description of each item of furniture: ’1. Organ (still without a case ) ... 13. Very pretty Huon pine bookcase – Bailey’s best job … 14. St. Sebastian [by Guido Reni, the Nixons’ most prized painting] ... 15. W.H.'s sofa table covered with the blue cloth given me in 1836 by Honoria – on this is my Indian desk & here is my Account drawer & here I write in the morning … 26. A round Table, at wh. I am now writing Good night. 11 o’clock p.m. Jan. 2. 45’. The Nixons’ art collection was described in a letter of 12 February 1845.

At first Nixon endured rather than enjoyed her Australian exile. There was 'the bitter sorrow’ of parting from her family and the death of her stepdaughter Fanny (Frances Maria) on the voyage out. Her letters tell of her feelings of cultural isolation: 'No one here seems to care a straw for the arts, or even for reading, with the exception of the Macleans, where one’s eyes and memory are always refreshed by views of Italy, etc., and new books.’ The long separations from her husband while he travelled around his extensive diocese were a cause of loneliness for her as well as worry on her husband’s behalf: 'I cannot bear that my poor husband should be deprived of the consolation he derives from his domestic ties.’ As one who felt so much empathy for her husband, she was also severely affected by the political and ecclesiastical disputes in which he became involved.

Even so, as a family friend wrote, 'Mrs Nixon works as hard as [the Bishop] and makes an excellent Bishop’s Lady’. As well as acting as her husband’s amanuensis, she taught Sunday School classes and played the organ in St David’s Cathedral, the latter being 'a great delight’ to her. She learnt to enjoy the Tasmanian landscape and made many friends and established numerous ties with the colony before returning to England in 1862. Because of her husband’s failing health, the Nixons moved to Vignolo near Stresa, Lake Maggiore, Italy, in 1866, but it was Anna Maria who died there on 26 November 1868. She was buried in the British Cemetery at Stresa.
There was another facet of the genius of Ben Peach implicit in much of what has already been said. He was a very good artist in the romantic Victorian manner. His field notebooks and the backs of his field maps are covered with monochrome paintings in brush and ink, a few watercolour paintings and several sketches in both pen and pencil. His love for mountains and trees is clearly demonstrated in the many scenic views exhibited in the Scottish headquarters of the British Geological Survey. In these, aesthetic sense is combined with geological insight. Comparing the pictures with modern photographs shows that Peach took little artistic licence; and never enough to make the landscapes unrecognizable to those who are familiar with the scenery of the North-west Highlands. He was a compulsive artist, for his notebooks contain, in addition to the landscapes, many sketches of any other things he saw around him, and cows, sheep, cats, dogs and people are portrayed often with a mischievous sense of humour. His drawings number over two hundred, and this collection depicts a tour of the North-west Highlands and the Southern Uplands as seen through the eyes of a great man — a well loved man and a well respected geologist. This precious legacy which has come down to us gives a greater insight than all the many eulogies into the real Benjamin Neeve Peach.
This text is derived from the booklet written by Angela Anderson and published by the Institute of Geological Sciences, 1970.

Thomas Cole was born in Bolton-le-Moors, Lancaster, England, and emigrated with his family to Philadelphia in 1818. They soon moved to Steubenville, Ohio, where Thomas, who had studied engraving briefly in England, taught art in his sister's school. He then tried to be an itinerant portrait painter. Seeking better patronage, he returned to Philadelphia in 1823 to paint landscapes and decorate Japan ware. He took drawing lessons at the Pennsylvania Academy and exhibited there for the first time in 1824.
Moving to New York the following year Cole began to receive recognition and may at this time be said to have set in motion the taste for romantic landscape - a genre which would later become known as the Hudson River school. Taking a trip up the Hudson River, he painted three landscapes. Placed in the window of Coleman's Art Store, they were purchased at $25 apiece by three well-known artists of the day: John Trumbull, Asher Durand, and William Dunlap. Cole was now established and able to support himself by his landscapes.
Cole moved up the Hudson in 1826 to Catskill. After seeing the great scenic wonders of the White Mountains and Niagara, he sailed for England in 1829 under the patronage of Robert Gilmore of Baltimore. Although Cole admired the paintings of Claude Lorrain and Gaspard Poussin, he spent little time in European museums, preferring to sketch out of doors. After a brief visit to Paris he went down the Rhone River and then to Italy. After nine weeks in Florence he went to Rome, accomplishing most of the journey on foot.
Returning to New York in 1832, Cole was given a commission by an art patron to execute five panels. Known as the Course of Empire, these were considerably influenced by J.M.W. Turner's Building of Carthage, which Cole had seen in London.
In November 1836 Cole married Maria Barton, whose family home in Catskill became their permanent residence. Commissions came in from William P. Van Rensselaer for The Departure and The Return, from P. G. Stuyvesant for Past and Present, and from Samuel Ward for four panels, the Voyage of Life.
In 1841 Cole went to Europe again. On returning home he visited Mount Desert on the coast of Maine and Niagara. At the time of his death on Feb. 11, 1848, he was at work on a religious allegory, the Cross of the World.
With the overland expansion of America, people took great interest in their land and the various aspects of nature. Cole established landscape painting as an accepted form of art. He was a Swedenborgian mystic, and his paintings reflect his intensely religious feelings; never dealing with the trivial, his work has a high moral tone. He had a profound reverence for nature, which he depicted sometimes in a tranquil mood and at other times in a state of violence. He makes the viewer feel man as a helpless creature overwhelmed by the all-powerful forces of nature. He frequently placed a highly detailed tree at the right or left foreground (an inheritance from baroque stage settings), and the landscape beyond unfolds as on a stage. His was a highly romanticized version of nature often overlaid with elements of fantasy and sometimes even including medieval or classical ruins.
Further Reading
In the absence of a modern study of Cole, the best source is Louis Legrand Noble, The Life and Works of Thomas Cole (1853; edited, with an introduction, by Elliot Vesell, 1964); it includes correspondence and other documents. Howard S. Merritt, Thomas Cole (1969), an exhibition catalog, includes a critical introduction. For shorter notices see Frederick A. Sweet, The Hudson River School and the Early American Landscape Tradition (1945), and Esther Seaver, ed., Thomas Cole: One Hundred Years Later (1949).
Additional Sources
Baigell, Matthew, Thomas Cole, New York: Watson-Guptill Publications, 1981.
Parry, Ellwood, The art of Thomas Cole: ambition and imagination, Newark: University of Delaware Press, 1988.
Columbia Encyclopedia:
Thomas Cole

Home > Library > Miscellaneous > Columbia Encyclopedia - People
Cole, Thomas, 1801-48, American landscape painter, b. England. He arrived in the United States in 1818 and moved to Ohio, where he was impressed by the beauty of the countryside. In 1825 he went to New York, where his landscape paintings began to be appreciated. Largely self-taught, he depicted the scenery of the Hudson River valley and the Catskills, which he discovered on long walking trips, becoming a leader of the Hudson River school. In 1829 he went to Europe, where he spent some time sketching in England and Italy. In Paris he greatly admired the landscapes of Claude Lorrain. After he returned to New York, he was commissioned (1832) to paint his five famous allegorical scenes, farfetched and neoclassical in style, known as the Course of Empire (N.-Y. Historical Soc., New York City). This series and the Expulsion from the Garden of Eden (Mus. of Fine Arts, Boston) reflect his strong moralizing tendencies, combined with elements of fantasy; they are far less successful than his landscapes. Other works, such as Oxbow (Metropolitan Mus.) and Catskill Mountains (Mus. of Art, Cleveland), reveal his joy in the grandeur of nature.

Melanie Springbett is a versatile professional artist who resides in Barrie, Ontario. She depicts everything from animals to scenery, pets and people.

She grew up in Northern Ontario in a place called Sylvan Valley. Much of her scenery in her paintings comes from this area.

Growing up on her parents forested acreage she enjoyed what nature had to offer, visiting her favourite places in the forest or sitting by the river. Here she learned her passion for painting nature and wildlife.

During art class in high school she experimented with different mediums. First in watercolor, acrylic then oil. She eventually took up oil because of the rich color it produces. She sold her first painting then.

As a child she always wanted to make a living as an artist. Now she's taken up art as a full time job...her dream. She loves both nature and art so to work with them together just make sense. She does field work as much as possible for inspiration, and enjoys visiting Algonquin Provincial Park. Now that she resides in Barrie, Ontario, the park is not very far from her home.

After the birth of her first child she has taken up portraiture to a much greater extent. Recently she has discovered how beautiful chalk pastel can be on the right paper. It works well for portraits because of the many flesh tones available.

She also loves to do pet portraits. She has always had a family pet and does believe what is said "dogs are man's best friend."

She has exhibited in a number of shows including Cobourg Waterfront Festival, Pelham Art Festival, Kempenfest in Barrie and the All About Pets Show at the International Center in Toronto.

 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  
 Scenery Pencil Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  

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