Strudwick John Melhuish Died on 16 July 1937 John Melhuish Strudwick, British PreRaphaelite painter born on 06 May 1849. Strudwick studied at the South Kensington and Royal http://personalitate.artline.ro/Personalitate-Strudwick-John_Melhuish-76-2.html
Extractions: Strudwick studied at the South Kensington and Royal Academy Schools. He received encouragement from the Scottish artist, John Pettie. The influence of the older artist is evident in Auld Robin Gray (1873). In the early 1870s Strudwick was employed as a studio assistant to Spencer Stanhope and then Burne-Jones . As did Burne-Jones, Strudwick painted mythological, Arthurian, and allegorical works. But Strudwick evolved a very personal and decorative Pre-Raphaelite style, flat, highly detailed, rich and glowing in color. If they were to be faulted, it would be for their static and impersonal nature. Strudwick was an admirer of Italian Renaissance painting, though he admitted to George Bernard Shaw in 1891 that he had never visited Italy. Songs without Words (1876) was his one and only exhibit at the Royal Academy. Strudwick frequently attached poetic titles to his works and music was a recurrent theme e.g. The Music of a Bygone Age (1890), When Apples were Golden (1906, Manchester City Art Gallery) and Symphony. With Isabella and the Pot of Basil (1879) he drew on a Pre-Raphaelite favorite, Keats. A Golden Thread (1885), depicts the legendary Fates. Another of his best paintings is O Swallow, Swallow (1894). By 1909 Strudwick was still exhibiting, but he appears to have stopped painting about this time.
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Extractions: Artist Strudwick John Melhuish Title When Apples were Golden Size 86 cm x 56 cm / 34'' x 22'' Availability 3-5 Days Item# Price (US$) Artist Strudwick John Melhuish Title When Apples Were Golden Size 61 cm x 43 cm / 24'' x 17'' Availability 5-7 Days Item# Price (US$) Artist Strudwick John Melhuish Title When Apples Were Golden Subject Art Movement - Pre-Raphaelites Size 70 cm x 50 cm / 28'' x 20'' Availability 24 Hours Item# Price (US$) Page 1 of 1 340,000 posters and prints. Shipping fees Delivery usually 2-3 days. Payment by credit card. Return privilege (14 days).
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John Melhuish StrudwickPortfolio At Liss Fine Art John Melhuish Strudwick. Arthur Studd Although no stainedglass designs are recorded by the Pre-Raphaelite artist John Melhuish Strudwick, http://www.lissfineart.com/display.php?KT_artists=John Melhuish Strudwick
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John Melhuish Strudwick Translate this page Artista, strudwick john melhuish. Título, When Apples were Golden. Tamaño (cm), 86 x 56 strudwick john melhuish - When Apples Were Golden. http://www.postershop-espana.com/Strudwick-John-Melhuish-p.html
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John Melhuish Strudwick Online john melhuish strudwick British PreRaphaelite Painter, 1849-1935 Guide to pictures of works by john melhuish strudwick in art museum sites and image http://www.artcyclopedia.com/artists/strudwick_john_melhuish.html
John Melhuish Strudwick, 1849-1937: An Overview strudwick was one of the most accomplished of BurneJones s followers. He painted some thirty paintings of legendary and symbolic subjects with a lapidary http://www.victorianweb.org/painting/strudwick/index.html
Extractions: Victorian Web Home Visual Arts Artists Strudwick was one of the most accomplished of Burne-Jones 's followers. He painted some thirty paintings of legendary and symbolic subjects with a lapidary technique and a style that derives from the Italian quattrocento. Despite this, he never visited Italy. He was born in London, studied, rather unsuccessfully, at the Royal Academy Schools, and in the late 1860s attempted to paint in the fluent style of the Scottish genre painter, John Pettle. His art was transformed in the early 1870s, when he was briefly studio assistant to Burne-Jones. Then he developed his distinctive style which never altered. Like most artists in Burne-Jones's circle, he exhibited chiefly at the Grosvenor Gallery and the New Gallery, but his output was very small because his technique was so meticulous. In 1909 he contributed to the final exhibition of the New Gallery. This seems to have marked the end of his artistic career although he lived for almost thirty more years. Tastes had changed and the period had ended in which he enjoyed the patronage of important figures such as the shipowners William Imrie and George Holt. The end of his exhibiting career coincides with his sixtieth birthday, so it is possible that he had been purchasing an annuity with a view to retirement. His final artistic statement was the painting ' When Sorrow comes in Summer Days ', which remained in the artist's family until 1983, and which Strudwick deliberately left unfinished (personal communication from the owners of the painting [the artist's family] to Peter Nahum, circa 1978). This gesture, together with the title, reflects the disillusionment he felt.
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John Melhuish Strudwick On Artnet john melhuish strudwick (British, 18491937) - Find works of art, auction results sale prices of artist john melhuish strudwick at galleries and auctions http://www.artnet.com/artist/144218/john-melhuish-strudwick.html
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John Melhuish Strudwick (1849-1935) Notes on the life of the PreRaphaelite painter john melhuish strudwick. http://myweb.tiscali.co.uk/speel/paint/strudwic.htm
Extractions: An important late Pre-Raphaelite painter, Strudwick was born in Clapham and studied art at South Kensington and at the RA Schools, where he was not particularly successful, but received encouragement from the distinguished Scottish painter John Pettie. He worked as studio assistant first to Spencer Stanhope, and then to Edward Burne-Jones , which firmly established him in the Pre-Raphaelite mould. His first (and only) picture at the Royal Academy, Song without Words (1876) was already completely Pre-Raph. From the following year he exhibited at the Grosvenor, and later at the new Gallery. He lived in Hammersmith, close to Burne-Jones and T. M. Rooke , another studio assistant of Burne-Jones. He married (Harriet Reed) and had a single daughter. Many of Strudwick's paintings have music as a central theme, for example When Apples were Golden (1906). He favoured rich, deep colours, Burne-Jones type faces and complex drapery. His angels are particularly entrancing. There is also an Italianate look to much of his work, despite his never having visited Italy, and this may be ascribed to the influence of Spencer Stanhope. Strudwick was fortunate in acquiring two extremely rich patrons - the Liverpool shipowners, William Imrie and George Holt. Sudley Art Gallery, under the direction of the Walker Art Gallery, Liverpool, was the former home of George Holt, and several of Strudwick's paintings can sometimes be seen there, including
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