Can anyone identify this painting?
Discussion
It's a pleasant image, but, being critical, there are a few errors in viewpoint and detail that suggest it is the work of an amateur rather than a professional anyone is likely to have heard of. The perspective on the lychgate and rearmost building on the left are wrong; the build of the horse on the left suggests a heavy breed, but it's out of proportion with the man; there's something odd about the position of the figure, forge and chimney in the smithy; not sure what's going on with the legs of the horse on the right; etc, etc. The two paintings already linked are a little finer, detail-wise, and show a somewhat more refined technique as regards paint application - texture of brickwork and the like.
That said, the winter sky in the background is well captured, the figures in the foreground are characterful and the whole thing suitably evokes winter in the North of England (Wales possibly, given the hilliness of it all).
That said, the winter sky in the background is well captured, the figures in the foreground are characterful and the whole thing suitably evokes winter in the North of England (Wales possibly, given the hilliness of it all).
Missy Charm said:
It's a pleasant image, but, being critical, there are a few errors in viewpoint and detail that suggest it is the work of an amateur rather than a professional anyone is likely to have heard of. The perspective on the lychgate and rearmost building on the left are wrong; the build of the horse on the left suggests a heavy breed, but it's out of proportion with the man; there's something odd about the position of the figure, forge and chimney in the smithy; not sure what's going on with the legs of the horse on the right; etc, etc. The two paintings already linked are a little finer, detail-wise, and show a somewhat more refined technique as regards paint application - texture of brickwork and the like.
That said, the winter sky in the background is well captured, the figures in the foreground are characterful and the whole thing suitably evokes winter in the North of England (Wales possibly, given the hilliness of it all).
anyone else just conjure up an image of Brian Sewell and think "tThat said, the winter sky in the background is well captured, the figures in the foreground are characterful and the whole thing suitably evokes winter in the North of England (Wales possibly, given the hilliness of it all).
t" 
Missy Charm said:
It's a pleasant image, but, being critical, there are a few errors in viewpoint and detail that suggest it is the work of an amateur rather than a professional anyone is likely to have heard of.
<snip>
I tend to agree with your opinion, but at the same time, I think it is these 'errors' which give it the appeal it has.<snip>
Byker28i said:
You know that bloke Lowry couldn't paint realistic people either. As for Munch 
Art is always subjective, but I understand what you were trying to do. It does have the style of other artists though
Oh yes, Lowry couldn't paint realistic portraits for toffee:Art is always subjective, but I understand what you were trying to do. It does have the style of other artists though
What a load of rubbish; doesn't even look like a person.
Munch was the same:
There's a difference between not being able to and choosing not to. The latter is where art comes from.
Bob-iylho said:
Missy Charm said:
It's a pleasant image, but, being critical, there are a few errors in viewpoint and detail that suggest it is the work of an amateur rather than a professional anyone is likely to have heard of. The perspective on the lychgate and rearmost building on the left are wrong; the build of the horse on the left suggests a heavy breed, but it's out of proportion with the man; there's something odd about the position of the figure, forge and chimney in the smithy; not sure what's going on with the legs of the horse on the right; etc, etc. The two paintings already linked are a little finer, detail-wise, and show a somewhat more refined technique as regards paint application - texture of brickwork and the like.
That said, the winter sky in the background is well captured, the figures in the foreground are characterful and the whole thing suitably evokes winter in the North of England (Wales possibly, given the hilliness of it all).
anyone else just conjure up an image of Brian Sewell and think "tThat said, the winter sky in the background is well captured, the figures in the foreground are characterful and the whole thing suitably evokes winter in the North of England (Wales possibly, given the hilliness of it all).
t" 
Missy Charm said:
There's a difference between not being able to and choosing not to. The latter is where art comes from.
The art is the painting itself. It’s either of merit or it is not.Imagine seeing a painting and NOT being told who did it, are you actually saying you need to “know” who did it before judging it?
It’s a bit like two identical cars and saying one it crap and one is good based purely on the badge on the front.
Like that picture, but with paintings I have two huge preferences in how they are presented.
Frameless - Great for chunky canvasses where the painting wraps around the sides.
Mounted and Framed - Self-explanatory. A well chosen mount really sets off a painting, and if this were my painting, and I do like it, I'd have it mounted and put in a bigger frame.
Frameless - Great for chunky canvasses where the painting wraps around the sides.
Mounted and Framed - Self-explanatory. A well chosen mount really sets off a painting, and if this were my painting, and I do like it, I'd have it mounted and put in a bigger frame.
Dracoro said:
Missy Charm said:
There's a difference between not being able to and choosing not to. The latter is where art comes from.
The art is the painting itself. It’s either of merit or it is not.Imagine seeing a painting and NOT being told who did it, are you actually saying you need to “know” who did it before judging it?
It’s a bit like two identical cars and saying one it crap and one is good based purely on the badge on the front.
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