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St. Paul’s Cathedral, from St. Martin’s-le-Grand, London (ca. 1795) reproduction of painting by Thomas Girtin. ALL GICLEE PRINTS
St. Paul’s Cathedral, from St. Martin’s-le-Grand, London (ca. 1795) reproduction of painting by Thomas Girtin. ALL GICLEE PRINTS

St. Paul’s Cathedral, from St. Martin’s-le-Grand, London (ca. 1795)

Thomas Girtin
Technique: Giclée quality print
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"St. Paul’s Cathedral, from St. Martin’s-le-Grand, London" by Thomas Girtin captures the iconic and sublime presence of St. Paul's Cathedral embedded within the everyday life of London circa 1795. This magnificent watercolor depicts a bustling urban scene where the grandeur of the cathedral's dome looms over surrounding buildings, subtly suggesting its immense cultural and architectural significance.The artwork manifests a unique interplay of light and structure, guiding the viewer's eye towards the majestic dome, outlined perceptively amidst the cityscape. The nearby buildings, presented in a detailed yet restrained manner, bear a stark, monochromatic contrast to the soft, ethereal dome above. Moving through the painting, one notes the lively streets filled with tiny, dynamic figures and horse-drawn carriages, illustrating the vibrancy of city life under the watchful presence of the cathedral.Girtin's expertise with watercolor lends a dreamlike quality to the scene, with delicate brushstrokes that evoke the historical texture of London in the late 18th century. As one marvels at "St. Paul’s Cathedral, from St. Martin’s-le-Grand," it is not just the architectural splendor that captures the imagination but also the vivid glimpse into the era's urban pulse.

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Thomas Girtin
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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.

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