#cornwall paintings

[victusinveritas]

Some night stone bothering in Cornwall

Men-an-tol and Lanyon Quoit.

Now with light painting. Photos and light painting by David Nicholson

[illustratus]

Mount St Michael, Cornwall by Clarkson Frederick Stanfield

[oilpalette]

Creek Vean, Cornwall - 2016

Alasdair Lindsay - British, b. 1975

Acrylic on board, 50 x 50

[mysteriesofthemiseries]

Miniature portraits of Lady Désirée de Guerre and Lord Nicholas Cornwallis-Perkins, Viscount Mousehole, by Marie-Françoise de Guerre, Marchioness de Guerre, 1810

Both miniatures were exchanged by the couple after their betrothal. Lord Mousehole received a portrait of his dear Désirée as she received a portrait of a young viscount.

[stevietheghostie]

drew this sitting in the gardens at St Michael's Mount, Cornwall, in the summertime

[sarahashmoreartandjewellery]

Shifting

Original acrylic painting by contemporary St Ives, Cornwall, artist Sarah Ashmore | Subtle abstracted forms

For sale on my website. www.sarahashmore.co.uk

[artschoolglasses]

Elizabeth Fox, Lady Cornwallis, Sir Peter Lely, 1676

[heavyarethecrowns]

[mycological-mariner]

There’s this engraving that hangs on the wall in a pub I like to sit in and it’s fascinating. So I went ahead and looked up a print (it’s gorgeous). It’s by J. M. W. Turner

This is the engraving (1825)

But then this is the final painting.

It’s of Boscastle Harbour, Cornwall. And it’s simply magnificent

[brigidcoady]

Very excited to have this hanging on my wall at last! The artist is Annie Fearon Walke - you can see other paintings of hers in the Royal Cornwall Museum, Penlee House Gallery & Museum plus a wonderful portrait of Joan of Arc in the church her husband was vicar of in St Hilary. Her Wikipedia page is frustrating the art linked on it is all by men who were her instructors and not actually her work! **** #art #anniewalke #anniefearonwalke #paintings #Cornwall #patriarchy (at London, United Kingdom) https://www.instagram.com/p/CmbfWDPrK7o/?igshid=NGJjMDIxMWI=

[septembergold]

[bob-robertpetcherart]

[raki-bul]

Why I Chose Cornwall: A Personal Reflection

I've lived all around the world, from the hustle and bustle of Tokyo to the sunny beaches of Australia. But now, as I sit in my cozy cottage nestled in the heart of Cornwall, I can say without a doubt that I've finally found my home.

It wasn't an easy journey to get here. Growing up, my family moved around a lot, and I quickly learned to adapt to new places and cultures. I loved the excitement of discovering new sights, sounds, and flavors, and I was always eager to explore. But as I grew older, I began to crave a sense of belonging, a place to call my own.

I moved to London for university and spent years working in the city, but I never quite felt at home there. The crowds and noise were overwhelming, and I longed for a quieter, more peaceful way of life. So when an opportunity to work remotely presented itself, I jumped at the chance to explore a new part of the country.

I had visited Cornwall a few times before and had always been drawn to its rugged coastline, quaint villages, and rich history. I knew that it was a popular tourist destination, but I was curious to see what it was like to live here year-round.

From the moment I arrived, I felt a sense of calm wash over me. The rolling hills and sweeping views of the ocean were a balm to my city-weary soul, and I found myself spending hours walking along the cliff paths, soaking up the fresh sea air.

But it wasn't just the scenery that drew me in - it was the people. I was struck by the warmth and friendliness of the locals, who welcomed me with open arms and invited me to community events and gatherings. I quickly made friends with other expats and locals alike, and I began to feel a sense of belonging that I had never experienced before.

Of course, there have been challenges along the way. The weather can be unpredictable, and the winters can be long and dark. But even on the greyest of days, I find solace in the quiet beauty of the landscape, and I know that I am exactly where I am meant to be.

Settling in Cornwall has taught me the value of slowing down and appreciating the simple pleasures in life. Whether it's a cup of tea in a cozy cafe or a stroll along the beach at sunset, there is a sense of peace and contentment here that I have not found anywhere else.

I may have lived all around the world, but it is here, in this tiny corner of England, that I have found my true home. And I wouldn't have it any other way.

[ghostofutopia]

[mysteriesofthemiseries]

Viscount Mousehole as Apollo, by Sir Lawrence Campbell, 1811

[Image description: A full-body portrait of the gloomy Viscount Mousehole cosplaying as Apollo whilst leaning to a column. The muse was nude but covered by a dark navy blue scarf. His head was wrapped with laurel leaves. His head glow like some portraits of Apollo during the Renaissance to Classical periods. The subject stands against the moors where the clouds formed against him. /end of ID]

[random-brushstrokes]

George Clausen (British, 1852-1944) - Head of a Young Woman (Dolly Henry)

In October 1914 the tragic news that Dolly Henry had been shot by her lover, the artist John Currie, spread swiftly through the art world. A popular Irish model, renowned for her rich auburn hair, Henry's relationship with Currie was known to be tempestuous, and although highly regarded, he frequently talked of suicide. Having murdered Henry in her rooms in Chelsea, he took his own life. Shocked by the news, Clausen, with good memories of Dolly, and the days when the present portrait was painted, joined other artists for whom she had worked in subscribing to her funeral costs. Portraits and figure-pieces featuring the object of Currie's infatuation tend to accentuate her prominent cheek bones and adopt the Italianate 'Primitivism' that was a consistent feature of the work of Slade students of his day - and is seen in Head of a Girl, and in Dolly Henry on Hampstead Heath (sold Bonhams, 10 July 2018, fig 1). Living nearby at the time she first sat for Clausen in May 1912, she was also working for other artists such as William Strang, and the sculptors, George Frampton and Havard Thomas, as well as Currie. Clausen's approach was more naturalistic than Currie's, and in the present portrait he strips his model of the art fashions of the moment. The artist, having recently visited Sicily and Greece on Art Workers' Guild holidays, was developing his own individual approach to the classical ideal – best expressed in Primavera 1914 (private collection), for which Henry initially modelled. When she and Currie took off to live in Brittany for a brief period, this project was completed with Lilian Ryan, later Lady Kelly. In the meantime, as the Breton adventure ended in failure, Henry hoped to bury herself in Cornwall and escape Currie's attentions. There she bobbed her hair, and sat for Harold and Laura Knight, memorably posing for the latter's Marshmallows, 1914 (private collection), before fleeing again to Chelsea. (source)