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Bridge Goats Liber Studiorum part IX plate 43

Bridge Goats Liber Studiorum part IX plate 43


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Liszt Collection

Wall Art and Photo Gifts from Liszt Collection

Bridge Goats Liber Studiorum part IX plate 43

Artokoloro

Liszt Collection of nineteenth-century engravings and images to browse and enjoy

Media ID 14078071

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1775 1851 1807 1812 1819 April 23 Aquatint Book Bridge Brown Watercolor Compositions Copper Plates Establish Etched Outlines Finberg First State Frontispiece Published Goats Ideas Latin Liber Studiorum Mezzotint Part Ix Plate 43 Seventy Prints Studies Turner Distilled


EDITORS COMMENTS
This print titled "Bridge Goats Liber Studiorum part IX plate 43" takes us back to April 23,1812, when it was first created by the talented British artist Joseph Mallord William Turner. The print showcases Turner's mastery of various techniques such as etching, aquatint, and mezzotint in its intricate details. As we gaze upon this artwork, our eyes are immediately drawn to the majestic bridge that spans across a serene body of brown watercolor. The bridge serves as a focal point amidst the tranquil landscape that surrounds it. However, what truly adds charm and liveliness to this scene is the presence of two goats gracefully perched on top of the bridge's arches. Their playful stance brings an unexpected touch of whimsy to an otherwise peaceful setting. The print belongs to Turner's renowned series called "Liber Studiorum" which consisted of seventy prints published between 1807 and 1819. This series aimed to establish compositions inspired by his extensive studies in landscapes. Each piece within this collection represented a different aspect or theme related to nature. Artokoloro has beautifully captured this particular work from Turner's "Liber Studiorum" series with utmost precision and attention to detail. Through their expert printing techniques, they have preserved not only the etched outlines but also the essence and spirit behind each stroke made by Turner himself on those copper plates over two centuries ago. This print stands as a testament to both Artok

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