Скачать с ютуб 藝苑掇英 Helen Allingham 海倫·阿林漢姆 (1848–1926) watercolours English в хорошем качестве

藝苑掇英 Helen Allingham 海倫·阿林漢姆 (1848–1926) watercolours English

[email protected] Helen Allingham (1848-1926) Helen Allingham ever-popular watercolours of cottages, whether they were found in Surrey, Berkshire, Kent, Middlesex or the Isle of Wight. She and her husband, the poet William Allingham, moved to the hamlet of Sandhills. The area provided her with abundant subject matter, and her cottage scenes were particularly in demand. In 1886 an exhibition of them, entitled Surrey Cottages, was held at he Fine Art Society, and another, In the Country, followed in 1887. Both were sell-outs. It is often said that Allingham paints an idealised picture of country life, that the cottages cannot always have been embowered in lupins and clematis, or inhabited by sweet-faced girls with nothing to do all day but play with the kitten or admire the latest brood of chicks. It is true that the reality was often much harsher and less picturesque, but Allingham's paintings, though undoubtedly idealised, were not merely escapist. They have an underlying seriousness of purpose in that she was attempting to record a way of life and a type of vernacular architecture that were disappearing even as she painted. As William Allingham wrote in the catalogue of her 1886 exhibition, 'in the short time, to be counted by months, since these drawings were made, no few of the Surrey cottages which they represent have been thoroughly "done up", and some of them swept away'. Seen in this light, Allingham's cottage paintings may be seen as part of the current movement to protect the countryside and the architectural heritage, movement epitomised by the foundations of the Society for the Protection of Ancient Buildings in 1877 and of the National Trust in 1895. Many of those most closely involved with these developments, including Ruskin, William Morris, Tennyson, Carlyle, Octavia Hill and Gertrude Jekyll, were either known personally to Helen Allingham or belonged to her extended circle. 海倫·阿林漢姆 Helen Allingham （1848-1926）海倫·阿林漢姆（Helen Allingham）的小屋水彩畫，無論是在薩里，伯克郡，肯特，米德爾塞克斯還是懷特島。她和她的丈夫，詩人威廉·阿林漢姆搬到了Sandhills的小村莊。該地區為她提供了豐富的主題，她的山寨場景特別受歡迎。 1886年，他們在美術協會舉辦了一場名為Surrey Cottages的展覽，另一部在In the Country舉辦了展覽，隨後於1887年展出。兩者都是賣光。 人們常說，阿林漢姆描繪了鄉村生活的理想化畫面，小屋不能總是在羽扇豆和鐵線蓮中被賦予權力，或者是甜蜜的女孩，無所事事，只能和小貓玩耍或者欣賞最新的小孩。小雞確實，現實往往更加苛刻而且風景如畫，但是Allingham的畫作雖然無疑是理想化的，但不僅僅是逃避現實。他們有一種潛在的嚴肅目的，因為她試圖記錄一種生活方式和一種本土建築，即使在她畫畫時也會消失。正如威廉·阿林漢姆（William Allingham）在她1886年的展覽目錄中所寫的那樣，“在很短的時間內，自從這些圖紙製作完成以來，幾個月來，他們所代表的薩里小屋中沒有一個徹底”完成“，而且他們一掃而光'。從這個角度來看，阿林厄姆的小屋繪畫可能被視為當前保護鄉村和建築遺產運動的一部分，這一運動的體現是1877年保護古建築協會和1895年國民託管組織的基礎。許多與這些發展密切相關的人，包括拉斯金，威廉莫里斯，丁尼生，卡萊爾，奧克塔維亞希爾和格特魯德傑基爾，要么親自為海倫·阿林漢姆所知，要么屬於她的擴展圈。