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Elias Martin: Romantic Landscape with Spruce | |||||||||||||||||||||||||||
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Artist | |||||||||||||||||||||||||||
Title |
English: Romantic Landscape with Spruce Svenska: Romantiskt landskap med gran |
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Object type |
painting object_type QS:P31,Q3305213 |
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Genre | landscape painting | ||||||||||||||||||||||||||
Description |
English: A large pine tree dramatically leans into the picture and points towards the high cliffs in the background. In the sky, dark clouds clash as sunlight forces its way through the shrouds of fog. Through the use of the light and haze, the artist attempts to depict the power of the wild, mountainous landscape.
This picture was painted by Elias Martin. In the 1760s and 70s, he spent a total of twelve years in England. During this period, English landscape art experienced a golden age – artists such as Thomas Gainsborough and Richard Wilson strove to capture the typical English nature on canvas. They were fascinated by the wild and free landscape and this lead to the emergence of a new landscape tradition that differed radically from the classicistic, idealized landscape of southern Europe that Claude Lorrain, among others, had established. This painting shows how strongly Martin had been influenced by his contemporary English colleagues. The painting, most likely painted upon his return to Sweden in 1780 – is an exquisite example of the period’s new interest for wild and untamed nature. The sprawling pine, the rapids, and the inhospitable, shear cliffs, differ markedly from the idyllic or pastoral renditions of nature that, up till then, had dominated landscape art. Have you discovered the people in the picture yet? In the gloom to the left of the pine tree, a figure can be seen, standing in front of a small cabin. Here, Martin strives to depict the experience of the sublime - that is, man’s smallness in relation to nature’s overwhelming power. The sublime became a central theme in the romantic landscape art of the 1800s. For Martin, the experience of the sublime was linked to a Christian, religious experience of nature. Upon describing his paintings or experiences of nature, Martin’s choice of words was often religion-inspired, and in the face of a landscape and the forces of nature, he felt the presence of God.Svenska: En stor gran lutar sig dramatiskt in i bilden och pekar upp mot de höga klipporna i bakgrunden. På himlen tränger solen fram mellan dimslöjor och mörka moln. Genom det dramatiska ljuset försöker konstnären fånga kraften i det vilda klipplandskapet. Efter tolv år i England återvände Elias Martin 1780 hem till Sverige.
Den här målningen tillkom vid den tiden och vittnar om intryck från den samtida brittiska landskapskonsten. Ett nytt intresse för den otämjda naturen spelade där en framträdande roll. |
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Original caption InfoField | English: A large pine tree dramatically leans into the picture and points towards the high cliffs in the background. In the sky, dark clouds clash as sunlight forces its way through the shrouds of fog. Through the use of the light and haze, the artist attempts to depict the power of the wild, mountainous landscape.
This picture was painted by Elias Martin. In the 1760s and 70s, he spent a total of twelve years in England. During this period, English landscape art experienced a golden age – artists such as Thomas Gainsborough and Richard Wilson strove to capture the typical English nature on canvas. They were fascinated by the wild and free landscape and this lead to the emergence of a new landscape tradition that differed radically from the classicistic, idealized landscape of southern Europe that Claude Lorrain, among others, had established. This painting shows how strongly Martin had been influenced by his contemporary English colleagues. The painting, most likely painted upon his return to Sweden in 1780 – is an exquisite example of the period’s new interest for wild and untamed nature. The sprawling pine, the rapids, and the inhospitable, shear cliffs, differ markedly from the idyllic or pastoral renditions of nature that, up till then, had dominated landscape art. Have you discovered the people in the picture yet? In the gloom to the left of the pine tree, a figure can be seen, standing in front of a small cabin. Here, Martin strives to depict the experience of the sublime - that is, man’s smallness in relation to nature’s overwhelming power. The sublime became a central theme in the romantic landscape art of the 1800s. For Martin, the experience of the sublime was linked to a Christian, religious experience of nature. Upon describing his paintings or experiences of nature, Martin’s choice of words was often religion-inspired, and in the face of a landscape and the forces of nature, he felt the presence of God.Svenska: En stor gran lutar sig dramatiskt in i bilden och pekar upp mot de höga klipporna i bakgrunden. På himlen tränger solen fram mellan dimslöjor och mörka moln. Genom det dramatiska ljuset försöker konstnären fånga kraften i det vilda klipplandskapet. Efter tolv år i England återvände Elias Martin 1780 hem till Sverige.
Den här målningen tillkom vid den tiden och vittnar om intryck från den samtida brittiska landskapskonsten. Ett nytt intresse för den otämjda naturen spelade där en framträdande roll. |
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Date |
from 1768 until 1780 date QS:P571,+1750-00-00T00:00:00Z/7,P580,+1768-00-00T00:00:00Z/9,P582,+1780-00-00T00:00:00Z/9 |
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Medium |
oil on canvas medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 |
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Dimensions |
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Collection |
institution QS:P195,Q842858 |
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Accession number |
NM 4629 |
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Inscriptions |
Svenska: Målad under Englandsvistelsen 1768-80 |
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References | |||||||||||||||||||||||||||
Source/Photographer | Erik Cornelius / Nationalmuseum | ||||||||||||||||||||||||||
Permission (Reusing this file) |
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 02:10, 8 October 2016 | 3,120 × 4,009 (35.82 MB) | <bdi>AndreCostaWMSE-bot</bdi> | {{Artwork |other_fields_1 = |artist = Elias Martin |title = {{en|Romantic Landscape with Spruce}} {{sv|Romantiskt landskap med gran}} |wikidata = Q18599690 |object_type = pain... |
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Metadata
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Image title | Elias Martin: Romantiskt landskap med gran. NM 4629 |
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Camera manufacturer | NIKON CORPORATION |
Camera model | NIKON D300 |
Author | Nationalmuseum |
Exposure time | 1/125 sec (0.008) |
F-number | f/14 |
ISO speed rating | 200 |
Date and time of data generation | 09:55, 15 October 2010 |
Lens focal length | 60 mm |
Width | 3,120 px |
Height | 4,009 px |
Bits per component |
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Compression scheme | Uncompressed |
Pixel composition | RGB |
Image data location | 32,078 |
Orientation | Normal |
Number of components | 3 |
Number of rows per strip | 4,009 |
Bytes per compressed strip | 37,524,240 |
Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
Data arrangement | chunky format |
Software used | Adobe Photoshop CS5 Windows |
File change date and time | 15:40, 15 October 2010 |
Exposure Program | Manual |
Exif version | 2.21 |
Date and time of digitizing | 09:55, 15 October 2010 |
Shutter speed | 6.965784 |
APEX aperture | 7.61471 |
Exposure bias | 2.3333333333333 |
Maximum land aperture | 3 APEX (f/2.83) |
Subject distance | 2.99 meters |
Metering mode | Pattern |
Light source | Flash |
Flash | Flash did not fire |
DateTimeOriginal subseconds | 84 |
DateTimeDigitized subseconds | 84 |
Color space | Uncalibrated |
Sensing method | One-chip color area sensor |
File source | Digital still camera |
Scene type | A directly photographed image |
Custom image processing | Normal process |
Exposure mode | Manual exposure |
White balance | Manual white balance |
Digital zoom ratio | 1 |
Focal length in 35 mm film | 90 mm |
Scene capture type | Standard |
Scene control | None |
Contrast | Normal |
Saturation | Normal |
Sharpness | Normal |
Subject distance range | Unknown |