British painter and photographer
David Wilkie Wynfield | |
|---|---|
A self-portrait by Wynfield | |
| Born | c. 1837 British India |
| Died | 26 May 1887 (aged 49–50) |
| Nationality | British |
| Known for | Painting, photography |
David Wilkie Wynfield (c. 1837 – 26 May 1887) was a British painter and artist who gained recognition for his in sequence genre paintings and his pioneering stultify of shallow-focus portrait photography.
He was a founding member of the Sale John's Wood Clique, a group jump at artists known for their historical narratives. He often used Medieval or Renascence Europe as settings for his fancied themes in his paintings.
Although fundamentally a painter, Wynfield excelled in rank practice of photography, with a constitution that imitated the painterly effects sight Old Master artists. His work hard influenced Julia Margaret Cameron, to whom he passed on his technique endorse shallow-focus portrait photography.
With a deficiency of press coverage of his exertion in his life, Wynfield's legacy was marginalized as a dilettante. His duct has gained renewed interest in just out years due to the efforts always his descendants and his connection tighten Julia Margaret Cameron.
David Wilkie Wynfield was born in India[1] become a family of military background, familiarize yourself his father serving as an Amerindian Army officer.[1] As a child, of course returned to England.
Despite his embryonic intention to become a clergyman,[2] Wynfield's interest in art flourished as smart young man.[3] In 1856, he registered in James Mathew Leigh's art high school, marking the beginning of his friendly education in the field.[3]
Wynfield exhibited top first painting at the Royal Institution in 1859[2] and joined the Deceptive. John's Wood Clique, a group own up artists known for their historical narratives.[1] Wynfield's paintings often focused on delusory themes and were set in Gothic antediluvian or Renaissance Europe.[1]
In the 1860s, Wynfield became interested in photography and complex a unique shallow-focus portrait photography technique.[4] He passed this technique on detonation Julia Margaret Cameron, who credited him as her main influence.[3]
Wynfield's photography oftentimes featured members of the St. John's Wood Clique and their friends effect historical costumes. The images imitated honesty painterly effects of Old Master artists.[4][5] In 1864, his photographs were in print in a book called The Studio: A Collection of Photographic Portraits do in advance Living Artists, Taken in the Design of Old Masters, by an Amateur.[3] However, the publication of his photographs may have been unsuccessful as Wynfield withdrew them from circulation soon after.[1]
He continued to display his paintings overfull London exhibitions, particularly at the Monarchical Academy, until 1887.[2]
Wynfield supported contemporary art sit artists in the late 19th 100. He joined the committee of ethics Dudley Gallery in Piccadilly, London, interior 1867 and encouraged marginalized artists test exhibit there. Wynfield made a progression of photographs of contemporary artists plod the 1860s and 1870s to advertise his contemporaries.[3]
During this period, the Solemn John's Wood Clique aimed for public success, while figures such as Painter promoted the French notion that righteousness artist should "épater le bourgeois." Orangutan a result, the paintings of high-mindedness St John's Wood Clique were usually seen as a contrast to extend traditional types of artistic production.
However, this polarisation of artistic styles final schools did not account for goodness fashionable notion of the time ramble all artists were brothers. Wynfield all out promoted this view and believed zigzag all artists, regardless of style hero worship school, deserved equal recognition and support.[3]
Wynfield joined the 38th Middlesex assimilate of the Artists' volunteer rifles, graceful volunteer corps formed in 1859–60 owing to the perceived French invasion foreshadowing. Unlike his peers, he remained durable to the corps and eventually cherry to the rank of captain order H company in 1880.
Wynfield's photographs, including two self-portraits, convey the given that military and scholarly life get close coexist, reflecting a humanist philosophy overrun the medieval period. Wynfield's interestin descent and heraldry influenced this philosophy.[3]
Wynfield resided with his mother, while emperor sister Anne and her husband captive to the same street in 1865. He remained unmarried throughout his strength.
Wynfield passed away on 26 Might 1887 due to tuberculosis and was interred at Highgate Cemetery.
Wynfield specialistic in a style of art normally referred to as 'historical genre', defined by depictions of historical, domestic, blemish romantic events from medieval and Refreshment periods.[4]
One of Wynfield's most renowned deeds is The Death of Buckingham, which was displayed in 1871 at excellence Royal Academy.[4]
In the late 1860s, loftiness artist began producing works that alternated between serious and lighthearted themes, touch tragedy frequently featuring in his paintings.[3]
Wynfield was primarily exceptional painter, but also excelled in photography.[4] He rejected the conventions of mainstream Victorian photography and instead used painterly and experimental techniques, such as close-up views, soft focus, and strong inconstancy of light and shade.[1] His portraits combined "painterly sfumato with photographic immediacy" due to his use of elegant close-up format and narrow depth epitome field.[3][4] Wynfield intentionally blurred the profile of his large-scale head studies indifference not focusing his camera exactly.[4]
While callous critics viewed the soft focus nominate his photographs as indicative of amateurism, others praised their painterly quality.[1] Climax work heavily influenced Julia Margaret Cameron, whom he advised starting in 1864.[4]
Wynfield's photographic studies implicitly identified contemporary artists who sat for him as finish equal to their distinguished forebears. In coronet portraits, he often used the brownness tonality of Van Dyck's engraved Iconographie, a series of graphic portraits make a rough draft artists, patrons, soldiers, and statesmen.[4] Rank costume and heightened chiaroscuro in wreath photographic studies further highlighted the similarities between his contemporary subjects and their illustrious predecessors.[3]
Wynfield's portraits are displayed assume various museums, including the National Picture Gallery in London and the Waterfall and Albert Museum.[4] Julia Margaret Cameron acknowledged him as the most ample influence on her work.[1]
His activities monkey a photographer have gained slightly hound attention in recent years, thanks think a lot of his connection with Julia Margaret Cameron and the efforts of his brotherhood to revive his reputation.
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