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| Tsuchiya Koitsu - Full Moon at Akashi Beach |
Wednesday, August 3, 2022
Thomas Cole - Tower by moonlight, 1838
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| Thomas Cole - Tower by moonlight, 1838 |
Cole was fascinated with the passing of time and cycles of life. Tower by Moonlight alludes to the poetic push and pull between nature and history. In the foreground of this elegiac scene, young lovers meet under the full moon. Behind them, a sarcophagus and ruined tower, both long overtaken by natural elements, suggest past generations. Here, the past is as much a part of the present moment as this couple, whose lives are also subject to the inevitable passing of time.
Thomas Chambers (1808–1869) - Storm-tossed frigate, mid 19th century
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| Thomas Chambers (1808–1869) - Storm-tossed frigate, mid 19th century oil on canvas, 21,4 x 30,3 cm National Gallery of Art, Washington |
Theodor von Holst (1810— 1844) - The Fairy Lovers, c. 1840
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| Theodor von Holst (1810— 1844) - The Fairy Lovers, c. 1840 oil on cavas, 41 x 31 cm Tate, London |
Here Oberon and Titania, fairy lovers from A Midsummer Night’s Dream, are shown dancing under the light of the moon. The fairies’ tip-toe steps, flower and insect wing headdresses, dancing drapery and an eerie light create a magical effect.
Walter Linsley Meegan (1859–1944) -The South Bay at Night with Full Moon
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| Walter Linsley Meegan (1859–1944) -The South Bay at Night with Full Moon oil on cavas, 25 x 35,5 cm Scarborough Art Gallery, North Yorkshire |
Samuel Palmer -The Rising Moon, ca 1855
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| Samuel Palmer -The Rising Moon, ca 1855 etching, Sheet: 11.8 × 19.3 cm, Mount: 30.2 × 21.6 cm The Metropolitan Museum of Art |
In 1850, Palmer began to make etchings and would create seventeen plates before his death in 1881. He used the medium to reprise and condense significant themes at the heart of his pastoral vision. "The Rising Moon" was the first of his large etchings and combines elements from the artist's early Shoreham period with others seen in trips to Italy and Devon. The attentive shepherd watching over his flock by moonlight recalls pastoral Sussex, the cypresses echo ones Palmer had sketched at the Villa d'Este, and the rolling hills recall those tramped over during summer tours of Devon. At this stage, between states six and seven, Palmer had nearly completed the image released to the Etching Club for circulation in 1857. The image conveys an intense attachment to subtle light effects, ranging from strong moonlight reflected by clouds to gentler tones used to define woolly sheep, and glimmering outlines that pick out medieval buildings within an enveloping landscape. Via
Peder Balke - The North Cape by Moonlight, 1848
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| Peder Balke - The North Cape by Moonlight, 1848 oil on canvas, 62 x 85 cm The Metropolitan Museum of Art |
Balke visited the North Cape only once, in 1832, but the experience became a touchstone of his imagination for the rest of his life. The tenebrous palette and expressive brushwork seen in this moonlit view are characteristic of Balke’s mature style, which stands in contrast to the more restrained naturalism of his mentor Johan Christian Dahl. When this painting (or another version) was exhibited in Oslo in the fall of 1848, a critic wrote that it "claims our interest, both for the nature of the subject itself and the singularity of the perception of the chosen moment."
Tsuchiya Koitsu - Summer Moon at Miyajima, from the series Collection of Views of Japan, 1936
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| Tsuchiya Koitsu - Summer Moon at Miyajima, from the series Collection of Views of Japan, 1936 Color woodblock print, The Art Institute of Chicago |
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Joseph Wright of Derby (1734–1797) - Scene near Naples, Italy, by Moonlight
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| Joseph Wright of Derby (1734–1797) - Scene near Naples, Italy, by Moonlight oil on canvas, 59.1 x 74.3 cm Derby Museum and Art Gallery |
Anthonie Waterloo (Dutch, 1609–1690) - Landscape by Moonlight, ca 1676
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| Anthonie Waterloo (Dutch, 1609–1690) - Landscape by Moonlight, ca 1676 25.8 x 18 cm, Black chalk and brush and black ink with gray and grayish black wash heightened with white, The Metropolitan Museum of Art |
Anthonie Waterloo, a productive topographical draftsman, sketched the landscape in and around his native Utrecht. He also travelled west to Brussels and east to northern Germany, and as far as Gdańsk. This drawing recalls the countryside on Holland’s eastern border as well as the wooded area around Brussels. Waterloo made many drawings of these areas, often in black chalk and gray wash heightened with white. His darkly shaded wooded views nicely capture contrasting light in the voids. The strip of paper seamed to the lower edge is the artist’s own addition. Waterloo has recycled a fragment of one of his letters, for the reverse bears his penmanship.
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