Friday, 4 February 2011

More original Prints from Burne Jones to Fisher free to download.

I thought I would add some more of these prints because they are just great and the more I delve through the pile, the more great discoveries I uncover. The following pictures of these wonderful old 1930's are by some of the great masters of the times, a real mixed bunch.

Some I like and some and they scan really well, however the actual print looks a little dark to me, not so much from ageing and in fact, there are no signs of age on any of them. Its more a case of the 'printing' method used or maybe its the actual painting, best viewed 'large'.

The originals do have a nice 'canvas' texture and this makes it more difficult to capture the image at its best or worse depending on point of view. The actual prints look fine as a print and if lit correctly would probably be fully appreciated. However and failing that, there's always the possibility of owning a copy as a download or on disc.

If you wish to see how good, or bad they turn out if you want to copy and print yourself then simply click on the image and save the file using the right click and save method. If that don't make sense or want assistance then please let me know I will email you a copy or two.

If you wish to leave a comment about these prints or any other of the things I have here on my blog then I am always pleased, so don't be shy.

Fen Meadow by Mark Fisher RA
The painting by Mark Fisher reminds us of his relationship with Claude Monet in regard to the painting of sunlight. A famous critic once wrote 'Mark Fisher follows the great French master with a difference'. Monet achieved his sunlight by the scientific juxtaposition of the colours of the spectrum. Fisher obtains much the same effectiveness of vibrating light and luminous shadows, but less obviously.In this picture the amazing luminosity that envelops it is obtained by making every object a veritable mirror of the sunlight. One does not actually see the sun blazing in the sky, the visible part of which is indeed covered by the film of a heat haze but its presence is everywhere. One can feel its warmth as keenly as the languid cattle standing in the pools on the swampy land.
The painter's treatment has struck a middle course between scientific impressionism and the age-long tradition of English landscape art. He has discarded the meticulous tree forms, the drama of the storm clouds, the opaque shadows and other aids to picturesqueness with which the early masters of the school sought to make their pictures interesting.
Place of these he has given us absolute as opposed to relative sunlight. Without this his picture would have been dull, the fenland conventionally painted in flat tones would have been more than a little monotonous. The sunlight transmutes the scene into something personal, and so interesting.

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