Рассвет (картина пэрриша)

Famous Maxfield Parrish Paintings

His systematic, almost mechanical approach to painting resulted in spectacular color and lighting effects. He integrated the new method of printing technology into old masters’ approaches and began with a monochromatic underpainting before layering on translucent glazes. He varnished in between each coat.

Daybreak (1922) painting by Maxfield Parrish, located in a private collection; Maxfield Parrish, Public domain, via Wikimedia Commons

• Cover of Mother Goose in Prose by Frank Baum (1897)
• Cover of Whist in Reference invented by John T. Mitchell (1897)
• Cover of The Golden Age by Kenneth Grahame (1900)
• Cover of The Dream Days by Kenneth Grahame (1902)
• Illustrations in The Arabian Nights by Kate Douglas Wiggin and Nora Archibald Smith (1909)
• Illustrations in Lure of the Garden by Hildegarde Hawthorne (1911)
• Illustrations in The Knave of Hearts by Louise Saunders (1925)

Особенности стиля и техники Пэрриша

Стиль художника легко узнаваем: он с огромным тщанием и реалистичной точностью выписывал детали работы и высвечивал их, накладывая слои краски друг на друга, перемежая их и сглаживая слоями лака. Спокойным светом, умиротворенностью веет практически от всех его картин. Они приятны и жизнеутверждающи, поднимают настроение и добавляют оптимизма.

Максфилд Пэрриш тратил уйму времени, создавая пейзажи для картин в своей мастерской из камней и подручного материала, использовал разнообразнейшее освещение с помощью множества источников света.

На картинах художника не видно мазков кистью, все скрыто от глаз. Это уводит зрителя в волшебный мир художника, отказавшегося иллюстрировать сказки, но вновь создававшего магию волшебства в своих произведениях.

Краткая биография художника

Биографию Максфилда Пэрриша (1870-1966) необходимо начать с того, что его отец Стефан Пэрриш был гравером и художником-пейзажистом. Он имел достаточно денег и навыков, чтобы очень многое дать своему сыну, рано проявившему способности к рисованию. В первую очередь это достойное образование: Максфилд закончил Академию изящных искусств в Пенсильвании. При рождении художник получил имя Фредерик, но, начав работать и зарабатывать, сменил имя на девичью фамилию матери Максфилд. Это имя превратилось в его творческий псевдоним.

Первые известные работы – иллюстрации. Это сборник 1887 года Баума «Сказки Матушки Гусыни в прозе», иллюстрации к сборнику стихов для детей и к «Арабским ночам» («Тысяча и одна ночь»). Его великолепные работы с эльфами, драконами, феями были так понятны детям, так радовали их и вводили в настоящий волшебный мир, что художник сразу был просто завален заказами. Как иллюстратор Максфилд Пэрриш сотрудничал со многими журналами, став одной из звезд «золотого века иллюстрации» на рубеже 19-20 веков и создав множество журнальных обложек.

Он был весьма востребован, достаточно богат и известен своими иллюстрациями. Но художник заболевает, переносит стресс и перестает работать над иллюстрациями, обратившись к пейзажу, жанру его отца. Масляная живопись Пэрриша, напоминающая рисунком и выбором сюжетов прерафаэлитов, сильно отличалась от работ других художников своим неповторимым, магическим свечением. Картины Максфилда Пэрриша экспонируются в музее «Метрополитен» в Нью-Йорке.

The Artistry of “Daybreak”

“Daybreak” is a piece, which shows off of a great talent of Parrish. The painting is highlighted with its harmoniously arranged figures and landscape, creating a world of tranquility and ruminative character, that draws the viewer to its depths and intimacy. Implying the light, a major feature of Parrish’s style, is an essential element to the picture’s depth and dimension. The existence of motion in the static painting is therefore obvious.

Parrish’s selection and application of color is downright striking. The yellows of sunrisemixed with the blues of the landscape give off a balancing visual effect. The minutiae, from the light and shadows reflected in the drapery to the drawing of the ripples in the water, manifest Parrish’s passion for accuracy.

Cultural Influences of Maxfield Parrish’s Prints

Maxfield Parrish’s paintings continue to have an impact on popular culture. The 1985 cartoon Penguin Dreams and Stranger Things features themes from Daybreak and The Lute Players on the cover. Daybreak influenced the artwork for The Princess Bride. Caribou, a record by Elton John, features a Parrish backdrop.

Midsummer Holiday Number print for The Century publication of August 1897; Artist Posters, Public domain, via Wikimedia Commons

The sleeve of the Moody Blues record The Present features a variant of the Parrish picture Daybreak. Dali’s Car, utilized Daybreak as the cover image for their single album, The Waking Hour, in 1984. Enya was influenced by Maxfield Parrish’s artwork. Parrish’s work, The Young King of the Black Isles, inspired the cover picture for her 1995 album The Memory of Trees. Branduardi’s record, La pulce d’acqua, released in 1977, includes nine inlay full-color print copies of painter Mario Convertino’s paintings, one of which is definitely influenced by Parrish’s artwork Stars.

Frequently Asked Questions

Where Is the Maxfield Parrish Museum?

There is not a Maxfield Parrish museum solely dedicated to his works. However, one can explore his art in many other museums around America. One can visit such places as the Birmingham Museum of Art in Alabama, the United States, to see some examples of Maxfield Parrish’s paintings.

What Was Maxfield Parrish Known For?

Maxfield Parrish was an American artist and illustrator whose work influenced the Golden Age of Illustration. He is well-known for his remarkable color intensity, idealistic neoclassical iconography, and wealth. Parrish defied the cliche of the starving artist by receiving his first commission before graduating from art school and went on to achieve considerable success over the first half of the 20th century. While the majority of Maxfield Parrish’s work was not placed in museums, it was well-received by the general population. The Art Nouveau style pioneered the use of large-scale printing for advertising. Lithography has become a very popular art medium as technology has advanced, allowing for the use of numerous colors and larger letter kinds. Parrish’s paintings enchanted millions. His greeting cards, advertisements, magazine covers, and calendar designs were displayed in public places like dorms and coffee shops.

What Kind of Art Did Maxfield Parrish Make?

He painted murals on panels and delivered them to clients, most of whom were large metropolitan hotels. Parrish worked as an illustrator for a number of children’s books, including Arabian Nights. He designed advertisements for a variety of significant business companies, including General Electric, Jell-O, and Fisk Tires. He also designed backdrops for Broadway and regional companies. The use of a saturated and vivid color palette in Maxfield Parrish’s paintings distinguishes them, and the color Parrish blue was named after him.

«Рассвет» в культуре XX века

Серия комиксов «Penguin Dreams and Stranger Things»  (англ.) (рус. (1985) содержит явные аллюзии на картину Пэрриша. На постере фильма «Принцесса-невеста» режиссёра Роба Райнера (1987) изображена вольная вариация на тему «Рассвета». Картина является фоном на обложке восьмого альбома Элтона Джона «Caribou», а также на обложке альбома британской рок-группы «The Moody Blues» «The Present»  (англ.) (рус.. В 1984 году «Dali’s Car»  (англ.) (рус., проект представителей британской новой волны Питера Мерфи и Мика Карна, использовал «Рассвет» в качестве обложки их альбома «The Waking Hour»  (англ.) (рус..

Телевизионная премьера видеоклипа «You Are Not Alone» (баллада в жанре ритм-н-блюза), снятого режиссёром Уэйном Айшемом, состоялась 28 июля 1995 года на телеканале MTV. В ролике Майкл Джексон и его жена Лиса Мари Пресли появляются полуобнажёнными, декорации и образы героев были вдохновлены картиной «Рассвет» Пэрриша.

Interesting Facts about “Daybreak”

Unconventional Techniques: Parrish employed unconventional techniques to achieve the radiant quality of “Daybreak.” He painstakingly applied multiple layers of thin glazes, a process that could span months. This meticulous approach contributed to the depth and richness that defines his paintings.

Commercial Success: “Daybreak” achieved unprecedented popularity, becoming an iconic representation of Parrish’s artistic prowess. Reproductions of the painting adorned countless homes, making it one of the most recognizable artworks of the early 20th century.

Influence on Popular Culture: transcended the realm of fine art. His distinctive aesthetic influenced subsequent generations of artists and permeated popular culture, appearing in advertisements, films, and even album covers. The enduring allure of “Daybreak” continues to captivate audiences across various mediums.

История создания и судьба картины

Кеньон Кокс. Портрет Максфилда Пэрриша, 1905

Пэрриш получил заказ на «Рассвет» в августе 1920 года, но он был занят другими срочными проектами, такими, как иллюстрации к книге Луиз Сондерс «Валет Червей», поэтому не начинал работу над картиной до лета 1922 года. По свидетельству Стивена Л. Ньюмана, совладельца Дома искусств (англ. The House of Art), в 1921 году Пэрриш сказал ему по поводу своей задержки в работе над картиной: «Что касается „большой картины“, то красивая белая панель, приготовленная для неё, всегда на стене передо мной…». Терпение его покровителей, Стивена Ньюмана и его партнера, A. E. Рейнталя, было вознаграждено. Пэрриш, завершил картину в декабре 1922 года, она была представлена публике в следующем 1923 году. «В 1925 году одна из каждых четырёх семей в Соединенных Штатах была обладательницей копии картины Пэрриша в своей гостиной. Количество её воспроизведений превзошло картины любого другого художника этого времени, за исключением работ Сезанна и Ван Гога», писал его современник. Размер картины — 67,3 на 114,3 сантиметров. Техника — масляная живопись по дереву. Картина подписана и датирована — «Максфилд Пэрриш 1922» (внизу справа). Картина создана в 1922 году. В это время Пэрриш отошёл от иллюстрирования книг и пытался сосредоточиться на живописи.

Когда Максфилд Пэрриш выставил[где?] свою картину, то она сразу зарекомендовала[обтекаемое выражение] себя как выдающееся произведение современного американского искусства[источник не указан 2461 день]. Разошедшись по миру в качестве литографий фирмы Reinthal & Newman, использовавшей самые передовые литографские технологии, и репродукций Дома искусств (он был одним из подразделений Reinthal & Newman), «Рассвет» стал самой успешной картиной прошлого века и укрепил одновременно положение Пэрриша как наиболее популярного американского иллюстратора. Считается, что полотно стало самым воспроизводимым в истории живописи, превзойдя «Тайную вечерю» Леонардо да Винчи и «Банки с супом Кэмпбелл» Энди Уорхола. Вместе с тем, неоднократно высказывалось мнение, что большинство репродукций и литографий оказались не в состоянии передать подлинную цветовую гамму картины (в них преобладают синие и голубые тона, занимающие в картине второстепенное место).

Картина всегда находилась в частной собственности. 25 мая 2006 года полотно было приобретено очередным частным коллекционером (это была Робин — супруга австралийского актёра и режиссёра Мела Гибсона) на аукционе Кристис за $ 7,6 миллиона долларов США. Это рекордная цена, полученная за картины Пэрриша. На короткое время после приобретения картины владелица выставила её в Национальный музей американской иллюстрации  (англ.) (рус. в Ньюпорте. Картина демонстрировалась с 12 июля по 25 августа 2006 года. Полотно снова было продано 21 мая 2010 года за $ 5 234 500 долларов США. В настоящее время картина находится в частной коллекции.

Maxfield Parrish’s Paintings and Technique

While most of Maxfield Parrish’s artwork was not displayed in museums, it was popular with the general public. The Art Nouveau style popularized the use of printing for advertising on a large scale. Because of advances in technology, lithography has become a very popular art medium, allowing for the use of many colors and bigger letter types.

Fantasy vistas, breathtaking vistas, ethereal fairies, legendary creatures, fortresses, and water features could be seen everywhere in Maxfield Parrish’s prints. Parrish was a talented painter who seldom worked from life. He rarely drew and instead relied on pictures and a projector. In Parrish’s machine workshop, which was situated at The Oaks, he made his own tools.

Puss-in-Boots (1913) painting by Maxfield Parrish; Maxfield Parrish, Public domain, via Wikimedia Commons

For his landscape setups, he also created costumes, cutouts, and miniature constructions. He created murals on panels and sent them to customers, who were mainly major city hotels. He illustrated several children’s books, including Arabian Nights. He created advertising for many large corporate brands such as General Electric, Jell-O, and Fisk Tires. He also created background scenery for Broadway and regional productions. Maxfield Parrish’s paintings are distinguished by their use of brilliant colors, and the hue Parrish blue was titled after him.

Through glazing, he was able to obtain such a bright hue. Over a basic rendering, layers of transparent paint and oil medium glazes are applied. Parrish is well renowned for his representations of magical settings filled with beautiful young ladies. He employed finely defined contours and beautifully drawn, natural backdrops, and his distinctive colors create a magical and idyllic feeling in his paintings.

Autumn (1905) print by Maxfield Parrish, illustrating John Keats’ poem Autumn; Maxfield Parrish, Public domain, via Wikimedia Commons

In Maxfield Parrish’s artwork, he employed a variety of different novel approaches. He’d photograph models in black-and-white geometric prints and transfer the images onto his creations. This approach enabled him to dress his figures in geometric patterns while properly expressing deformation and draping.

Maxfield Parrish’s paintings were also created by photographing, enlarging, or projecting items. He would cut out these images and glue them on his painting. He would eventually apply a transparent finish on them. The approach used by Parrish gives his artworks a more three-dimensional appearance.

Parrish’s Legacy

What is distinctive about Maxfield Parrish is that his talent would not be limited to the dimensions of the canvas, Parish influenced not only the art but also the pop culture. There was no one quite like him, capable of endowing his descriptions of magical landscapes and sheer wonders with a genre of his own. As timeless as the beauty of daybreak, ‘Daybreak’ is one simple piece among many and represents the canonic position of Parrish’s oeuvre.

Parrish’s career, which spanned decades, brought along technical modifications, yet his main element kept being unique. He had very been successful to the extent of his illustrations gracing the pages of prominent magazines and his paintings being on the walls of art enthusiast everywhere. Even though artistic fashions have transform literally, Parrish’s work is a monument of a magnanimous force of beauty and imagination.

What is Happening in “Daybreak”

Daybreak

Artist	Maxfield Parrish
Date Created	1922
Medium	Oil on canvas
Genre	Landscape
Period	Golden Age of American Illustration
Dimensions	89.5 cm × 135 cm
Series/Versions	–
Where is it housed?	Private Collection

Among Parrish’s most celebrated works is “Daybreak,” a masterpiece completed in 1922. This captivating painting transports viewers to a serene landscape, where two female figures, adorned in classical drapery, stand on a rocky perch overlooking a tranquil valley. The warm glow of the rising sun bathes the scene in a gentle light, creating a sense of calm and anticipation.

“Daybreak” is a deceptively complex work that offers up nuggets of information with each successive viewing. This is why the piece remains so compelling for modern audiences. The sculptures, ideally placed, provoke a feeling of Greek magnificence. The landscape designed perfectly to be viewed by the viewers to traverse through all the details in creative way as conceived by Parrish. The mounts and the valleys far away are being painted with a light stroke adding more mysterious and huge texture to the scene.

The absence of a dominant storyline in “Daybreak” enables the viewer to interact and relate directly to this emotional experience. The image turns a mirror, presenting emotions and experience of the viewer, and thus a special connection between the audience and a picture is created. Parrish’s power to transmit a visual story beyond time and place is a reflection of his universal art.

Maxfield Parrish

From the Story of Snow White, 1912, Oil on Panel, Collection of the California Palace of the Legion of Honor

Once upon a time publishers sought to print children’s books which were themselves little pieces of art from cover to cover. The language had been honed to perfection over many generations of telling so that children would be enthralled and amazed at stories of giants and dragons and gnomes. The pictures were not simple drawings but paintings designed to enhance the written word, that together they might create a mood and landscape suitable for dreaming. Without the constant distractions of movies and television young minds were free to fantasize, to wander on their own; they were given just enough data to spur their own creative faculties. The inquisitive child becomes autogenitor of the creative adult, and thus humanity enhances itself with each generation.

I don’t think modern publishers would care for Maxfield Parrish. They wouldn’t want to fund him, for one thing. His paintings are very involved, and take a long time to produce. He used a peculiar glazing technique to create his amazing colors and textures which provide a near three dimensionality in person but are impossible to duplicate in a book.  Max, baby, you are trying too hard. Pull back a little. That will be good enough. It’s just for kids and what do they know? We need to make a little money on this, capice?

Almost every single fantasy illustrator you can name borrows from the technique and style of Maxfield Parrish. When you have colors named after you, you know you’ve made an impact. In the category of art reproduced as art for people to own (as opposed to Snoopy appearing on a million Met-Life billboards) Parrish is the single most reproduced artist in human history. In the mid twentieth century it was estimated that one in five Americans owned and displayed a Parrish print in their home.

Daybreak, 1922, Oil on canvas board, private collection of Robyn Gibson

More copies of  Daybreak have been sold than copies of  Da Vinci’s Last Supper. Give yourself a moment to really think about that. Despite this stunning popularity there is no real artifice in Parrish’s work. To paraphrase a famous article on Parrish, here  “kitsch meets the sublime.”

Even with the emergence and subsequent dominance of modern and abstract movements, Parrish remained popular until his death in the sixties. He was openly admired by almost everyone in the art world, and remains among the most popular artists selling today. I think he is held in such regard because of his purity. He did not pretend to a sense of irony. He considered what he did important, and he approached his task appropriately. He took himself seriously, and he presumed a level of responsibility unheard of today. When the paint on a mural he had painted for a patron began to deteriorate, he refused to charge her for a second, independent mural.

Sometimes I watch a movie or read a book and begin to feel uncomfortable before it is barely begun. The director or the writer is in a rush to assure me that he is somehow personally above what he is offering me. “I’m much hipper than this stuff I’m showing you,” he seems to say. And I want to grab him by the neck and snarl, “Well yes, almost everyone is, you silly little gob. You and your kind are all patination and no bronze. Give me something you care about or stop wasting my time.”

Maxfield Parrish cared deeply about what he did. Once upon a time he was the best selling artist in the world. Who knows? Maybe he still is. But whether he is or not doesn’t matter, because his approach to art proves something important.

It pays to give a damn.

The Lantern Bearers, 1908, Oil on canvas board, for Collier’s Magazine, Crystal Bridges Museum of Art, Bentonville, Arkansas

Maxfield Parrish’s Artwork and Life

Few of us can forget the first time we saw one of Maxfield Parrish’s prints as children. Everybody knows Parrish’s wonderful universe, which is frequently woven with the hue of lapis lazuli in its finest form. His usage of this hue was so influential that a specific cobalt blue was dubbed “Parrish Blue”.

Painting by Maxfield Parrish for the 30th August 1923 edition of Life magazine; LIFE Magazine, Public domain, via Wikimedia Commons

Other pictures depicted sceneries decorated with thick clouds in a fairy tale atmosphere of princesses and knights sleeping beneath pediments, and they were equally harmonious, utopian, and cherished. Maxfield Parrish became undoubtedly the most famous and well-known illustrator in early 20th century America as a virtue of his capacity to generate such majestic grandeur.

Примечания[править | править код]

1. ↑ .
2. ↑ .
3. . Meibohm Fine Arts, Inc. Дата обращения: 29 января 2017.
4. Образец подобной литографии — . Invaluable, LLC. Дата обращения: 29 января 2017.
5. Vadeboncoeur, Jim Jr. . JVJ Publishing. Дата обращения: 29 января 2017.
6. Обнорский В. // Энциклопедия классической греко-римской мифологии. — Litres, 2017. — ISBN 9-785-4578-3381-4.
7. ↑ McDaniel, Scott. . Scott McDaniel. Дата обращения: 29 января 2017.
8. Jean Parrish (1911—2004). АskАrt. Дата обращения: 14 мая 2017. Архивировано 8 сентября 2017 года.
9. McDaniel, Scott. . Antiques And The Arts. The Bee Publishing Co. Inc (18 мая 2010). Дата обращения: 14 мая 2017.
10. Отношениям художника и его возлюбленной посвящена книга Альмы Гилберт —

Подбор натурщиков для картин

Позировали для картин Пэрриша, как правило, его родственники, друзья и знакомые. Обосновывалось это художником тем, что он хочет передать в своих картинах «дух невинности», то есть, скорее всего, свежесть, незаштампованность, как мы сказали бы сегодня.

Для картины «Рассвет» ему позировала дочь Джэйн. Но главной натурщицей Максфилда Пэрриша была вначале няня детей, а затем экономка семьи — Сьюзен Левин. Именно с ее фото он рисовал женские обнаженные фигуры на своих картинах, ее тело нарисовано у лежащей девушки на картине «Рассвет», но обликом ее стало лицо Китти Спенс (урожденной Рут Брайан Оуэн). Китти Спенс — восемнадцатилетняя внучка американского политика У. Д. Брайана, позировавшая ему для обложки журнала «Лайф» в 1922-23 годах, для картин «Каньон» (1923), «Утро» (1922) и других.