An Old English Homestead
Oil Painting
1854 (painted)
1854 (painted)
Artist/Maker | |
Place of origin |
This view probably depicts the countryside near the artist's country home in Abinger, Kent. A critic praised its 'infinity of leafiness, variety of depths, air and multiplicity of local tintings'. He recognised, however, that it was 'minute, delicate, and almost too feminine in touch'.
Object details
Categories | |
Object type | |
Title | An Old English Homestead (assigned by artist) |
Materials and techniques | oil on canvas |
Brief description | 'An Old English Homestead', oil on canvas by Richard Redgrave, Britain; signed and dated 1854. |
Physical description | Landscape, oil on canvas. |
Dimensions |
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Styles | |
Marks and inscriptions | 'Richd Redgrave 1854' (Signed and dated by the artist in red, lower right) |
Credit line | Given by Mrs Richard Redgrave |
Object history | Given by Mrs Richard Redgrave, 1889 |
Historical context | Redgrave had one of the most varied and interesting careers of any British artist, and as such is represented in more than one part of this exhibition. This picture shows him as an accomplished painter of landscapes, and was considered the best landscape in the 1854 Royal Academy exhibition. In the 1850s, with his several responsibilities as art teacher, curator, and administrator, he sought more peaceful refuge during the summer months with his wife and children at their home in the country, in Abinger, Kent. Nearby, in the adjacent county of Surrey close to where his father was living, he painted this view. It was much admired by critics for its visual truth: 'he renders truly what is before him, no common merit that he is not attempting to improve on nature'. Redgrave was able to relate a great deal of minute detail without, as sometimes happened in Pre-Raphaelite works, the painting being overwhelmed by it. |
Subjects depicted | |
Summary | This view probably depicts the countryside near the artist's country home in Abinger, Kent. A critic praised its 'infinity of leafiness, variety of depths, air and multiplicity of local tintings'. He recognised, however, that it was 'minute, delicate, and almost too feminine in touch'. |
Bibliographic references |
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Collection | |
Accession number | 183-1889 |
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Record created | December 15, 1999 |
Record URL |
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