Ernest Lawson, 1910 - Okirikiri ala nwere Osisi Gnarled - mbipụta nka mara mma

Landscape with Gnarled Trees bụ mpempe nka site na American artist Ernest Lawson na 1910. The mbụ jikoro size nke N'ozuzu: 20 x 23 7/8 na (50,8 x 60,6 cm) ma were ihe osise ese Usoro of mmanụ n'elu bọọdụ azụmahịa. It is included in the digital collection of Barnes Foundation in Philadelphia, Pennsylvania, Njikota Obodo Amerika. Site n'ikike nke Site n'ikike nke Barnes Foundation, Merion na Philadelphia, Pennsylvania (public domain license).: . In addition to that, the alignment of the digital reproduction is in landscape format with a ratio of 1.2 : 1, which means that the length is 20% longer than the width. Ernest Lawson was a painter, whose art style can primarily be attributed to Realism. The American painter lived for a total of 66 afọ Amụrụ na 1873 wee nwụọ na 1939.

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Original artwork specifications by Barnes Foundation (© Nwebiisinka - site na Barnes Foundation - Ntọala Barnes)

Ernest Lawson's colorful variations on the French impressionist technique had a lasting influence on Barnes's thinking about color. Born in Halifax, Nova Scotia, in 1873, Lawson lived and worked in the United States, claiming to have been born in San Francisco. In 1893, during his first stay in France, he sought out Alfred Sisley and painted the landscape around Moret-sur-Loing, where the famous impressionist lived. He returned to paint in France for two years, 1895 and 1896, moving to New York in 1898.Such Lawsons as Landscape with Gnarled Trees stress rugged application of rich, unctuous pigment, sinuous drawing, especially of trees, and a vivid, light-saturated freshness of color across their built-up surfaces. The presence of these and other Lawsons, hung side by side with the European and American moderns in the decade 1912 to 1922, struck a responsive chord and opened the way for Barnes's appreciation of the powerful, even explosive, turbulent color rhythms of the Lithuanian artist Chaim Soutine. Lawson's art, then, played an essential, if unacknowledged, role in kindling Barnes's receptivity to Soutine's profound originality and, thus, in shaping his collection.Richard J. Wattenmaker, American Paintings and Works on Paper in the Barnes Foundation (Merion, PA: The Barnes Foundation; New Haven: Yale University Press, 2010), 183-6.