#atmospheric perspective

[8kwalls]

Milky Way Earth iPhone | Space Horizon View

A view from space shows the Earth's horizon with city lights and the Milky Way galaxy above. The dark sky contrasts with the orange glow of sunrise along the curve of the planet.

Download free: 8kwalls.com

[8kwalls]

Blue Gradient iPhone | Soft Cyan Dreamscape

A blurred gradient transitions from deep blue to pale cyan across the frame. The soft focus gives the composition a hazy, dreamlike quality.

Download free: 8kwalls.com

[chronivore]

Toren Atkinson

[snail-plus-elise]

Charcoal drawing of my grandmother's backyard for class.

18" x 24"

[optikes]

aerial/ atmospheric perspective

1 Constable (1776-1837) English  Wivenhoe Park (1816)   oil on canvas 56.1×101.2cm

2 artist unknown

Atmospheric, or aerial perspective, creates the sense of distance in a painting by utilising the fact that the atmosphere appears more blue in the distance.  tate.org.uk

[sisicava]

I learned about using layers to create atmospheric perspective.

[optikes]

Joseph Lycett (1774-1825) born in England, transported to New South Wales 1814

1 Aborigines spearing fish, others diving for crayfish, a party seated beside a fire cooking Fish (1817)  watercolour

2 Fishing by Torchlight (1819) watercolour

A     abc.net.au     For years, an album of remarkable Australian paintings languished in a second-hand book shop in London. It was the work of Joseph Lycett—a convicted English forger who was transported to New South Wales in the early nineteenth century.

The National Library of Australia stepped in and bought the book. It's now been given the highest priority in the National Archives.

On his arrival in Sydney in 1814, Joseph Lycett was seconded by Captain James Wallis in Newcastle to illustrate the new settlement with the hope of attracting migrants. Lycett also closely observed the Indigenous people.

The Lycett Album, consisting of 20 watercolours, observes in detail the cultural practices of the Awabakal people of the Newcastle region. It depicts activities, daily life and interactions that had not previously been recorded, and have since disappeared.

 B    Linda Groom      nla.gov.au

One of the items of considerable significance in the National Library’s Pictures Collection is the bound volume commonly referred to as ‘the Lycett Album’. It contains twenty watercolours painted prior to 1828 by Joseph Lycett (c. 1775-1828).

Although a number of European artists of the early colonial period, such as Nicolas Martin-Petit and Richard Browne, made portraits of Aborigines, it is rare to find paintings that show the daily life of Aborigines. Among Lycett’s watercolours are the only known depictions from the period of Aborigines engaged in activities such as spearing eels and eating meat from beached whales.

Early colonial Australia did not attract many professional artists; most paintings prior to the 1820s were made by convicts or naval officers. Joseph Lycett was a convict, transported for forgery. During his time in Australia from 1814 to 1822, he was given freedom to work as a clerk and as an artist, except for one year of hard labour in the coal mines at Newcastle . He came into contact with Aborigines on at least one documented occasion when he was wounded in an attack by them.

Lycett’s skills as a forger carried over into his art. Two of the watercolours in the Lycett album appear to have been partly copied by Lycett from other works.

[toothwalker]