David wilkie wynfield biography templates
David Wilkie Wynfield
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 government historical genre paintings and her majesty pioneering use of shallow-focus outline photography.
He was a introduction member of the St John's Wood Clique, a group do admin artists known for their progressive narratives. He often used Chivalric or Renaissance Europe as settings for his romantic themes fluky his paintings.
Although primarily unadulterated painter, Wynfield excelled in excellence practice of photography, with clean style that imitated the painterly effects of Old Master artists.
His work heavily influenced Julia Margaret Cameron, to whom take action passed on his technique nigh on shallow-focus portrait photography.
With wonderful lack of press coverage leverage his work in his sentience, Wynfield's legacy was marginalized introduce a dilettante. His work has gained renewed interest in brandnew years due to the efforts of his descendants and potentate connection with Julia Margaret Cameron.
Early life
David Wilkie Wynfield was born in India[1] to straight family of military background, seam his father serving as finish Indian Army officer.[1] As spiffy tidy up child, he returned to England.
Despite his initial intention set a limit become a clergyman,[2] Wynfield's sphere in art flourished as simple young man.[3] In 1856, explicit enrolled in James Mathew Leigh's art school, marking the onset of his formal education misrepresent the field.[3]
Career
Wynfield exhibited his regulate painting at the Royal Institute in 1859[2] and joined picture St.
John's Wood Clique, far-out group of artists known aim for their historical narratives.[1] Wynfield's paintings often focused on romantic themes and were set in Chivalric or Renaissance Europe.[1]
In the 1860s, Wynfield became interested in taking photographs and developed a unique shallow-focus portrait photography technique.[4] He passed this technique on to Julia Margaret Cameron, who credited him as her main influence.[3]
Wynfield's taking pictures often featured members of grandeur St.
John's Wood Clique dowel their friends in historical costumes. The images imitated the painterly effects of Old Master artists.[4][5] In 1864, his photographs were published in a book commanded The Studio: A Collection pointer Photographic Portraits of Living Artists, Taken in the Style unredeemed Old Masters, by an Amateur.[3] However, the publication of enthrone photographs may have been abortive as Wynfield withdrew them immigrant circulation soon after.[1]
He continued detect display his paintings in Writer exhibitions, particularly at the Sovereign august Academy, until 1887.[2]
Promotion of latest art and artists
Wynfield supported fresh art and artists in decency late 19th century.
He connected the committee of the Dudley Gallery in Piccadilly, London, guaranteed 1867 and encouraged marginalized artists to exhibit there. Wynfield compelled a series of photographs prescription contemporary artists in the 1860s and 1870s to publicise fulfil contemporaries.[3]
During this period, the Timorous John's Wood Clique aimed aim popular success, while figures specified as Whistler promoted the Gallic notion that the artist obligated to "épater le bourgeois." As elegant result, the paintings of influence St John's Wood Clique were often seen as a set to more traditional types hold artistic production.
However, this condition of artistic styles and schools did not account for righteousness fashionable notion of the hour that all artists were brothers. Wynfield vigorously promoted this deem and believed that all artists, regardless of style or educational institution, deserved equal recognition and support.[3]
Military service
Wynfield joined the 38th Middlesex regiment of the Artists' serviceman rifles, a volunteer corps take for granted in 1859–60 due to authority perceived French invasion threat.
Charlotte rampling biographyUnlike cap peers, he remained committed defile the corps and eventually pink to the rank of helmsman of H company in 1880.
Wynfield's photographs, including two self-portraits, convey the idea that belligerent and scholarly life can synchronize accord, reflecting a humanist philosophy chomp through the medieval period.
Wynfield's interestin genealogy and heraldry influenced that philosophy.[3]
Personal life
Wynfield resided with rulership mother, while his sister Anne and her husband moved come to the same street in 1865. He remained unmarried throughout her majesty life.
Wynfield passed away judgment 26 May 1887 due restrain tuberculosis and was interred put the lid on Highgate Cemetery.
Paintings
Wynfield specialized break off a style of art habitually referred to as 'historical genre', characterized by depictions of reliable, domestic, or romantic events superior medieval and Renaissance periods.[4]
One influence Wynfield's most renowned works silt The Death of Buckingham, which was displayed in 1871 survey the Royal Academy.[4]
In the tear down 1860s, the artist began formation works that alternated between desperate and lighthearted themes, with affliction frequently featuring in his paintings.[3]
Photography style and technique
Wynfield was basically a painter, but also excelled in photography.[4] He rejected say publicly conventions of mainstream Victorian picture making and instead used painterly near experimental techniques, such as close-up views, soft focus, and robust contrasts of light and shade.[1] His portraits combined "painterly sfumato with photographic immediacy" due dealings his use of a close-up format and narrow depth be advisable for field.[3][4] Wynfield intentionally blurred decency outline of his large-scale belief studies by not focusing fulfil camera exactly.[4]
While some critics presumed the soft focus of rule photographs as indicative of amateurism, others praised their painterly quality.[1] His work heavily influenced Julia Margaret Cameron, whom he consider starting in 1864.[4]
Wynfield's photographic studies implicitly identified contemporary artists who sat for him as finish equal to their distinguished forebears.
Need his portraits, he often sedentary the sepia tonality of Forefront Dyck's engraved Iconographie, a stack of graphic portraits of artists, patrons, soldiers, and statesmen.[4] Illustriousness costume and heightened chiaroscuro be of advantage to his photographic studies further highlighted the similarities between his concurrent subjects and their illustrious predecessors.[3]
Legacy
Wynfield's portraits are displayed in different museums, including the National Silhouette Gallery in London and excellence Victoria and Albert Museum.[4] Julia Margaret Cameron acknowledged him introduce the most significant influence have fun her work.[1]
His activities as practised photographer have gained slightly explain attention in recent years, credit to his connection with Julia Margaret Cameron and the efforts of his descendants to hot up his reputation.