SAMUEL PROUT

Post 204  -by Gautam Shah

SUNDAY Feature on ART of Architecture

Samuel Prout (1783-1852), was a British water-colourist, known for his English landscape paintings and picturesque architecture illustrations. He was one of the masters of water-colour architectural painting. His significant contribution was of not only on-site sketches and water colour paintings, but lithographic prints from them. He was known for exploring new media. He authored several art handbooks based on his travels throughout Europe.

John Ruskin has said, ‘sometimes, I tire of JMW Turner, but never of Prout’.

Prout was the best user of lithographic art-form in England. He explored the technique of using a pen outline in his watercolours, which gave his art distinct look and evidenced his strength in the draftsmanship.  In Europe Prout began to capture the picturesque features of the architecture, and his hand recorded them with deftness. 

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THOMAS MATTHEWS ROOKE

 

Post 203 -Gautam Shah

SUNDAY Feature on ART of Architecture

Thomas Matthews Rooke (1842-1942) was a British watercolourist. He was a print-maker, illustrator, painter and teacher. He worked as a designer, as an assistant to other artists.

He was commissioned by John Ruskin to make architectural drawings as a record for threatened landscapes and buildings. He played a vital role in encouraging his student to break into the world of publishing, He vigorously persuaded commercial publishers to recognize the value of the medium.

He was elected an Associate Member of the Royal Water-colour Society in 1891 and a full Member in 1903. He lived a very long life and was working into his 98th year. 

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GERARD HOUCKGEEST

 

Post 202 -by Gautam Shah 

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SUNDAY Feature on ART of Architecture 

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Gerard Houckgeest (1600-1661) was a Dutch Golden Age painter of architectural scenes and church interiors. He executed real and imaginary interiors and decorative renaissance buildings. He probably studied under the architect and painter Bartholomeus van Bassen in his native town of the Hague. Houckgeest painting had a spontaneous, natural look. The contrast in style among the first works and those painted in Delft, is so great that some elusive external influence was the cause.

He was able to convey the most subtle nuances of daylight as it filters through glass windows high above and plays upon the austere architectural features of Delft's two historic churches. His depicted the tonal values that often downplayed the texture, shape, details, colours (as if in BW pictures) and even subject-matter. The preference for tonality placed him at different level than traditional chiaroscuro painting in the treatment of shadows. He had preference for sombre browns and reds.

He was fascinated by huge columns, pilasters and geometrically patterned floors. He exploited these to create a sense extensive interior space. He was master of diagonal perspective compared with nominal lengthwise or transverse views and scenes at oblique angles. This style set him apart from others in Europe.

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