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Norman WilkinsonTower of London1960
1960
$15,868.79
£11,429
€13,666.09
CA$21,788.36
A$24,421.02
CHF 12,784.74
MX$301,340.85
NOK 160,600.21
SEK 151,175.80
DKK 101,949.88
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About the Item
Norman Wilkinson
Tower of London
Oil on canvas, signed lower left, dated June 1960 on verso
Image Size: 23 1/2 x 17 1/2 inches (59.6 x 44.5 cm)
Original gilt frame
Provenance
Tryon Gallery
Purchased from the above by Werner Schnyder
Private collection
Painted in the 1960's when the Thames was still busy and the cranes on the embankments were still working. In this painting we can see the Tower of London in the background across the River Thames. A steam tug boat pulls freight along in the foreground, while leisure cruisers go by.
Norman WilkinsonWilkinson was born in Cambridge, England, and attended Berkhamsted School in Hertfordshire and St Paul’s Cathedral Choir School in London. His early artistic training occurred in the vicinity of Portsmouth and Cornwall, and at the Southsea School of Art, where he would also later teach.At age 21 he studied academic figure painting in Paris, but was already interested in maritime subjects. Indeed, although early on he studied figure painting in Paris, further study with the river and coastal painter Louis Grier in Cornwall reinforced Wilkinson’s growing belief that he should concentrate on marine subjects, of which he became a master.Norman Wilkinson was a successful marine painter and illustrator. He was also responsible for developing the concept of “dazzle camouflage” for British warships during the First World War. But it was as a poster artist that he reached his highest artistic level. In 1905, Wilkinson was commissioned by the London and North Western Railways to produce a poster advertising their rail/steam link to Ireland. Recognising the opportunity to create a new approach to railway poster design, he depicted the product as just one element of a broader landscape.It was the first time this had been done and its revolutionary concept was an important influence in the development of the pictorial poster. He went on to organise the celebrated commissioning of poster designs from members of the Royal Academy for the London Midland and Scottish Railway company in the 1920s. Wilkinson believed that art should play an important part in advertising. His posters were well-planned and executed in broad tones of colour with a skilful use of black to strengthen the design. He was, in his words, “the father and mother of the artistic poster on English railway stations”His career as an illustrator began with a first acceptance by the Illustrated London News in 1898, a publication with which he was long associated. He travelled widely abroad, in Europe, the Mediterranean area and in North and South America. In both world wars Wilkinson was important in the development of camouflage techniques, and he presented a big series of pictures concerned with the war at sea to the nation.Wilkinson’s works are on display in the National Maritime Museum, the Royal Academy, the Royal Society of British Artists, the Royal Institute of Painters in Water Colours, the Fine Art Society and the Royal Society of Artists. The Imperial War Museum has over 30 ship models painted in the variety of dazzle schemes by Wilkinson, mostly fro 1917.
- Creator:Norman Wilkinson (1878 - 1971, British)
- Creation Year:1960
- Dimensions:Height: 17.5 in (44.45 cm)Width: 23.5 in (59.69 cm)
- More Editions & Sizes:23 1/2 x 17 1/2 inches Price: $15,869
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU52415636302
Norman Wilkinson
Born in Cambridge in 1898 and educated at Southsea School of Art, Norman Wilkinson is known for his graphic art, specifically his British Railway poster images, and also for something quite incredible; Wilkinson revolutionized the art of naval camouflage. Having been assigned to submarine patrols in Dardanelles, Gallipoli, and Gibraltar during WWI as a member of the Royal Navy Volunteer Reserve, Wilkinson was deeply troubled by the unprecedented success the German submarine fleet had torpedoing British ships. He hoped to find a solution to this gaping vulnerability, and in a lightning bolt moment, he had an epiphany that would change everything. Wilkinson says in his autobiography, A Brush With Life (Seeley, 1969), that he realized a ship could be painted to hide its shape against the sea and sky. In his own words, Wilkinson states that the hull of a ship could be camouflaged "not for low visibility, but in such a way as to break up her form and thus confuse a submarine officer as to the course on which she was heading." After some preliminary testing, the theory Wilkinson called "dazzle camouflage" was accepted by British Admiralty and Wilkinson was placed in charge of the naval camouflage unit. The unit, which was headquartered in the basement of the Royal Academy of Arts, consisted of Wilkinson and about two dozen "camoufleurs;" they were artists, students, model makers and consultants, including a zoologist. The dazzle schemes were tested on models and then distributed to artists who were stationed at the docks, where the ships would be painted. At the end of the war Wilkinson was formally declared the inventor of dazzle camouflage and awarded for his contribution. Wilkinson went on to enjoy a long and celebrated career as a painter of maritime scenes, naval vessels, and warships. He served as the president of the Royal Institute of Painter in Water Colours (RI) from 1936 until 1963 (elected member in 1906); he was elected Honourable Marine Painter to the Royal Yacht Squadron in 1919, and he was a member of the Royal Society of British Artists, the Royal Institute of Oil Painters, the Royal Society of Marine Artists, and the Royal Scottish Society of Painters in Watercolour. In 1918 he was appointed an Officer of the Order of the British Empire (OBE), and a Commander of the Order (CBE) in 1948. In January 1920 he was appointed knight (chevalier) of the Belgian Order of the Crown. Among many notable points of interest regarding Wilkinson's career is that his painting Plymouth Harbour, which was commissioned by Cunard White Star Lines for the first class smoking room of the RMS Titanic, was lost at sea when it perished with the ship. Wilkinson had also created a comparable painting entitled The Approach to the New World, for the Titanic's sister ship, the RMS Olympic. This work may be seen in the 1958 film A Night to Remember in scenes aboard the Titanic, where is served as the stand-in for Plymouth Harbor.
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