Cottage near Newcastle, Northumberland (ca. 1797)

Technique: Giclée quality print
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More about this artwork

We are pleased to present "Cottage near Newcastle, Northumberland," an enchanting watercolor by the esteemed English artist Thomas Girtin, dated around 1797. This picturesque scene unfolds in a serene, rural setting and captures the essence of pastoral 18th-century British landscape.The painting features an old, modest cottage nestled amidst a rugged countryside. The structure, characterized by its sturdy, stone walls and a thatched roof, anchors the composition, emanating a sense of rustic tranquility and timeless endurance. To the left of the cottage, a rugged terrain rises, leading to craggy hills that add a dramatic touch to the scene. The foreground shows a small group consisting of a woman and two cows, illustrating rural life activities and adding life to the tranquil scene.Girtin's mastery in watercolor is evident in the delicate rendering of the skies and the distant landscape, where lighter washes suggest a hazy afternoon sky. The lush greenery surrounding the area and the serene water body in the background further contribute to the peaceful ambiance of the painting.This work not only showcases Girtin’s ability to capture the beauty of English landscapes but also reflects the artist's profound appreciation for the simple, unadorned life away from the bustling cityscape.

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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.