William Michael Harnett, 1877 - Təəssüf ki, Yazıq Yorik - təsviri sənət çapı

1877 In William Michael Harnett bu tablonu çəkdi "Alas, Poor Yorick". Orijinal ölçüsü ölçür - 7 1/4 x 9 1/4 düym (18,42 x 23,5 sm) və media üzərində rənglənmişdir kətan yağ. Bu sənət əsərinə daxildir Los Angeles County İncəsənət Muzeyi digital collection, which is the largest art museum in the western United States, with a collection of more than 142.000 objects that illuminate 6.000 years of artistic expression across the globe. With courtesy of Los Angeles County Museum of Art (www.lacma.org) (public domain license).Creditline of the artwork: . Moreover, alignment of the digital reproduction is in landşaft format və şəkil nisbətinə malikdir 1.2: 1, bunu nəzərdə tutur uzunluğu enindən 20% uzundur. William Michael Harnett was a painter of Irish nationality, whose style was mainly Realism. The artist was born in 1848 in Clonakilty, County Cork, Ireland and deceased at the age of 44 in the year 1892.

General specifications by Los Angeles County Museum of Art (© - Los Angeles County İncəsənət Muzeyi tərəfindən - Los Angeles County İncəsənət Muzeyi)

Harnett was a major late-nineteenth-century artist in the United States, and the most important trompe l’oeil still life painter of the era. During the 1870s he worked in Philadelphia and New York City, and by the late 1870s he had established his early reputation with the tightly painted and meticulously realistic table top still lifes. These have been dubbed “bachelor still lifes” because Harnett included objects primarily considered masculine: pipes, bags of tobacco, rugged pottery mugs, and newspapers or other printed material. These bachelor still lifes were all exceptionally small in scale, and painted in a dark, realistic palette. Harnett painted numerous examples, varying them primarily in the arrangement of the objects included. Alas, Poor Yorick (also known as Kilo, Tobacco and Pipe and Materials for a Leisure Hour) is a splendid classic example of Harnett’s early bachelor still lifes, and demonstrates that the artist was already fascinated by the sense of intense realism that would dominate his mature, larger, trompe l’oeil rack paintings.

Notes from the Contributor: Gift of Charles C. and Elma Ralphs Shoemaker.

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