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William Orpen
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The Outline of Art -
THE OUTLINE OF ART - BY WILLIAM ORPEN - UNQUESTIONABLY the two greatest English painters of landscape, and probably the two greatest English painters of any kind, were Turner and Constable, who were born within a year of one another. Turner, as we saw in the last chapter, amassed a large fortune Constable, on the other hand, could hardly earn a bare living, and not until 1814, when the artist was thirty-eight, did he sell a picture to any but his own personal friends. How was it that, from a worldly point of view, Coilstable failed where Turner succeeded Thc explaination is to be found in the totally different character of thc landscapes painted by these two artists. Turner, as Claude had do...
An Onlooker in France 1917-1919
In 'An Onlooker in France 1917-1919,' William Sir Orpen offers a profound and evocative portrayal of the stark realities faced during the final years of World War I. Masterfully reconciling the role of artist and observer, Orpen presents a vivid narrative rich in descriptions, character studies, and poignant reflections, all rendered in a style that is both intimate and universal. Orpen's artworks, inseparable from his writing, further amplify the emotional resonance and historical value of this account, providing a multi-dimensional exploration of war's human cost. The book, beyond serving as a personal memoir, has solidified its place in the larger fabric of wartime literature, bridging th...
Orpen
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Studio Lives
By examining the studios and studio-houses used by British artists between 1900 and 1940, this book reveals the ways in which artists used architecture - occupying and adapting Victorian studios and commissioning new ones. In doing so, it shows them coming to terms with the past, and inventing different modes of being modern, collaborating with architects and influencing the modernist style. In its scrutiny of the physical surroundings of artistic life during this period, the book sheds insight into how the studio environment articulated personal values, artistic affinities and professional aspirations. Not only does it consider the studio in terms of architectural design, but also in the light of the artist's work and life in the studio, and the market for contemporary art. By showing how artists navigated the volatile market for contemporary art during a troubled time, the book provides a new perspective on British art.
