William Keith, 1875 - Ndagwurugwu Yosemite - mbipụta nka mara mma

Ngwaahịa a

Ihe nka narị afọ nke 19 a Ndagwurugwu Yosemite was made by the artist William Keith in the year 1875. The over 140 mbụ dị afọ na-atụ akụkụ ndị a: 40 1/2 × 72 1/2 na (102,87 × 184,15 cm) e jikwa ya see ya mmanụ na kwaaji. Ọrụ nka a bụ akụkụ nke Ụlọ ihe ngosi nka nke Los Angeles County digital collection in Los Angeles, California, United States of America. We are pleased to state that this public domain artwork is being supplied with courtesy of Ụlọ ihe ngosi nka nke Los Angeles County (www.lacma.org).: . Besides this, the alignment of the digital reproduction is landscape with a side ratio of 16: 9, nke pụtara na ogologo bụ 78% ogologo karịa obosara.

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• Mbipụta akwụkwọ mmado (ihe kwaaji): A poster is a UV printed cotton canvas with a slightly rough finish on the surface, that reminds the original work of art. It is particularly designed for putting your art print with the help of a special frame. Please keep in mind, that depending on the absolute size of the canvas poster print we add a white margin of something between 2-6 cm around the print motif in order to facilitate the framing.
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Nkọwa site na webụsaịtị ihe ngosi nka (© - site na Los Angeles County Museum of Art - Ebe ngosi nka nke Los Angeles County)

In the autumn of 1872 Keith made the acquaintance of John Muir when he explored the hills beyond Yosemite with the naturalist. Yosemite Valley was a product of a later trip in 1875. A dramatic, composed image, it was painted in the artist’s studio specifically as an exhibition piece. It portrays a commanding view of Cathedral Rocks, which are in the valley along a bend in the Merced River. Nothing obstructs the panoramic view. A bit of the river bank is included as a repoussoir to lead the viewer into the scene. The towering trees are arranged on the sides to permit an open vista of the cliffs. The addition of the riders, while suggesting a narrative, was also essential to the composition. Even the pile of dead tree trunks in the center of the painting was arranged so that the large logs would link the two sides of the painting. Keith created many such epic paintings during the period between his two European trips, and many of these were criticized as too artificial. Although the general appearance of this version might give the impression of a standard picturesque composition, Keith avoided the tight, linear painting style associated with the Düsseldorf school. He also escaped the pervasive grays of such German landscapes by infusing the background of Yosemite Valley with an array of soft, opalescent hues.