The Guildhall, Exeter (ca. 1797)

Technique: Giclée quality print
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The exquisite draftsmanship of Thomas Girtin shines through in "The Guildhall, Exeter," a compelling drawing that depicts the iconic facade of one of Exeter's most historic buildings. Created around 1797, this work is a fine example of Girtin's ability to capture architectural detail and urban life with subtlety and grace.In this piece, viewers are treated to a skillful pencil rendering of the Guildhall, known for its ornate classical architecture. The stonework is meticulously detailed, showcasing the building's prominent columns and decorative sculptures that add depth and texture to the facade. Girtin's control over light and shadow is evident, even in the simplicity of his chosen medium, which gives life to the structure's intricate features.The scene is situated on a busy street, lined by a series of buildings that recede into the background, creating a sense of depth and perspective. Girtin includes small figures in period attire, scattered in front of the Guildhall, contributing a human element to the otherwise stately and imposing architectural study. These figures, though lightly sketched, assist in conveying the scale and the bustle that might have been typical of Exeter during this period."The Guildhall, Exeter" is not only an artistic achievement but also a valuable historical document, offering insight into the urban landscape of 18th century Exeter.

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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.