Bonner David Galleries Art
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"Spring Abundance"
By Romona Youngquist
Located in Scottsdale, AZ
Romona likes to trick the eye, using muted colors and blurred contours painted as softly as a whisper. But in reality her canvasses are a war zone and her weapons of choice-sand pape...
Category
21st Century and Contemporary Landscape Paintings
Materials
Canvas, Oil
"Afternoon Gold"
By Romona Youngquist
Located in Scottsdale, AZ
Her studio is tucked away in the lush Red Hills of Dundee, Oregon overlooking
flourishing vineyards and breathtaking landscapes. Much of her inspiration comes from
her surroundings- ...
Category
21st Century and Contemporary Landscape Paintings
Materials
Canvas, Oil
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The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’
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