Italianate River Landscape 1750–60 William Taverner As early as 1733 John Vertue asserted that Taverner had a "wonderfull genius to drawing of Landskap, in an excellent manner," and the artist is remembered for demonstrating to British artists how Italian and Dutch modes, previously associated with oil painting, could be translated into watercolor. "Italianate River Landscape" beautifully encapsulates Taverner’s experimental approach. Layers of tone define form, bodycolor strengthens the foliage, and iron gall ink is applied to the shadows. The river resembles a stretch of the Thames near Wind
Italianate River Landscape 1750–60 William Taverner As early as 1733 John Vertue asserted that Taverner had a "wonderfull genius to drawing of Landskap, in an excellent manner," and the artist is remembered for demonstrating to British artists how Italian and Dutch modes, previously associated with oil painting, could be translated into watercolor. "Italianate River Landscape" beautifully encapsulates Taverner’s experimental approach. Layers of tone define form, bodycolor strengthens the foliage, and iron gall ink is applied to the shadows. The river resembles a stretch of the Thames near Windsor, while the planar buildings and sinuous composition echo landscapes by the Italian master Paolo Anesi (1697-1773). Taverner earned his living as Procurator-General of the Court of Arches of Canterbury, an ecclesiastical London-based court. This freed him from the drudgery of painting country house views, and enabled him to develop an accomplished body of work admired by Paul Sandy and Thomas Italianate River Landscape. William Taverner (British, London 1700–1772 London). 1750–60. Watercolor, gouache (bodycolor) and iron gall ink over graphite on three joined sheets. Drawings
Size: 4000px × 1149px
Photo credit: © MET/BOT / Alamy / Afripics
License: Licensed
Model Released: No
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