Thomas Girtin
English Romantic Painter, 1775-1802 English painter, draughtsman and printmaker. With his rival, J. M. W. Turner, he extended the technical possibilities of watercolour and in doing so demonstrated that watercolours could have the visual impact and emotional range of oils. Although close in style throughout the 1790s, by 1800 Turner and Girtin were beginning to diverge: whereas the former dissolved forms to express his idea of Nature in a state of flux, the latter sought out a landscape's underlying patterns to convey his awe of Nature's permanence as well as its grandeur. Girtin's reduction of landscape to simple and monumental forms
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Thomas Girtin Das Weibe Haus in Chelsea oil painting


Das Weibe Haus in Chelsea
1800 Dimensions 29,8 x 51,4 cm cjr
Painting ID::  94487 		Thomas Girtin
Das Weibe Haus in Chelsea
1800 Dimensions 29,8 x 51,4 cm cjr
   
   
     
Thomas Girtin Interior of Lindisfarne Priory oil painting


Interior of Lindisfarne Priory
1797(1797) cjr
Painting ID::  94488 		Thomas Girtin
Interior of Lindisfarne Priory
1797(1797) cjr
   
   
     
Thomas Girtin Lindisfarne oil painting


Lindisfarne
1798(1798) cjr
Painting ID::  94489 		Thomas Girtin
Lindisfarne
1798(1798) cjr
   
   
     
Thomas Girtin Bamburgh Castle, Northumberland oil painting


Bamburgh Castle, Northumberland
1797-1799 Dimensions 55 x 45 cm (21.7 x 17.7 in) cjr
Painting ID::  94491 		Thomas Girtin
Bamburgh Castle, Northumberland
1797-1799 Dimensions 55 x 45 cm (21.7 x 17.7 in) cjr
   
   
     
Thomas Girtin Die Kathedrale von Durham und die Brucke, vom Flub Wear aus gesehen oil painting


Die Kathedrale von Durham und die Brucke, vom Flub Wear aus gesehen
1799(1799) Dimensions 41,5 x 53,6 cm cjr
Painting ID::  94492 		Thomas Girtin
Die Kathedrale von Durham und die Brucke, vom Flub Wear aus gesehen
1799(1799) Dimensions 41,5 x 53,6 cm cjr
   
   
     
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     Thomas Girtin
     English Romantic Painter, 1775-1802 English painter, draughtsman and printmaker. With his rival, J. M. W. Turner, he extended the technical possibilities of watercolour and in doing so demonstrated that watercolours could have the visual impact and emotional range of oils. Although close in style throughout the 1790s, by 1800 Turner and Girtin were beginning to diverge: whereas the former dissolved forms to express his idea of Nature in a state of flux, the latter sought out a landscape's underlying patterns to convey his awe of Nature's permanence as well as its grandeur. Girtin's reduction of landscape to simple and monumental forms

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