St. Mary Redcliff, Bristol (ca. 1797)

Technique: Giclée quality print
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Mary Redcliff, Bristol" by Thomas GirtinThomas Girtin's evocative sketch titled "St. Mary Redcliff, Bristol," created around 1797, presents a captivating glimpse of Bristol’s historic landscape. This delicate pencil work captures the essence of the bustling maritime activity that characterized Bristol at the turn of the 18th century. The artwork prominently features the elegant spire of St. Mary Redcliff Church, an architectural icon known for its Gothic beauty, towering above the surroundings and lending a spiritual dimension to the busy port scene depicted.In the foreground, Girtin skillfully sketches various maritime vessels, capturing the dynamic life of the harbor. A small boat gently rests along the quayside, while to the right, a ship sails sharply into view, its sails taut in the wind. This element not only adds movement to the composition but also reflects the importance of maritime commerce to Bristol during this period.The backdrop, lightly scrawled with the outlines of buildings and distant ships, suggests the sprawling nature of the port city. Girtin’s minimalistic yet precise strokes convey an array of textures and depth, creating a vivid sense of place and time.This sketch by Thomas Girtin is not only a historical record but also a piece that speaks to the transient beauty found in everyday moments.

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Thomas Girtin was an English watercolourist and etcher. A friend and rival of J. M. W. Turner, Girtin played a key role in establishing watercolour as a reputable art form.

Thomas Girtin was born in Southwark, London, the son of a wealthy brushmaker of Huguenot descent. His father died while Thomas was a child, and his mother then married a Mr Vaughan, a pattern-draughtsman. Girtin learnt drawing as a boy (attending classes with Thomas Malton), and was apprenticed to Edward Dayes (1763–1804), a topographical watercolourist. He is believed to have served out his seven-year term, although there are unconfirmed reports of clashes between master and apprentice, and even that Dayes had Girtin imprisoned as a refractory apprentice. Certainly Dayes did not appreciate his pupil's talent, and he was to write dismissively of Girtin after his death.