[Works of fine arts] works of Mary saltoris [English] Fred Leyton

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He was promoted to an academician of the Royal Academy of Fine Arts in 1869 and became the president of the Royal Academy of Fine Arts in 1878. At this time, the Regulations on the quasi-Exhibition of the school party salon became more strict and constrained by the Orthodox law. This kind of academic painting has completely lost its connection with nature. Only the rules of light and shade are concerned, the balance of the chart and the elegance of the characters also insist on the use of brown tones. This tone began with the fragrance of the Renaissance and Ding tolito. By the 17th century, he developed it and was later set as a pattern by European art schools. It is true that a brown tone can give people a deep feeling of calm and light and shade. The academic school regards it as an unchangeable frame, and no exception can even draw a landscape. This severely binds the creation of art. Most of Dean Leyton's works do not dare to go further than this, but it is a different story in this little Mary saltoris. It shows a certain breath of real life. Although the color is still rich, it reflects the traditional foundation of college painters in color. This painting was conceived by a painter at a friend's house in Hampshire. The girl on the painting was the daughter of the master. The Painter agreed to give her a portrait. So I made a proper orthodox style of "exception" and conceived the little girl to come out of the house: She was wearing a black robe, her right hand carrying the robe of the ground, and her left hand holding the whip. The red towel is very strong in contrast to the black dress. The luxurious hat with big feathers even sets off the white face of the girl. The whole color is full of nobility, or it is a kind of British academic painting. However, it is one of the most realistic painting interests in all leton portraits. Appreciation of the oil paintings of Leyton should focus on the form and means of painting. Academic painting generally focuses on the rigor of the composition, and internal things are often ignored. We appreciate the details of the image and find that the authenticity of some parts can be used for archaeology. In addition, the painting strokes are also more serious. The processing of the color of this painting focuses on the beauty of the contrast color. This is the strength of this painting in form. Leyton was born ordinary, because his artistic style maintained the official interest of the Victorian Age, so he was able to climb to the Longmen, and was banned as a baron. He was the first Paster to be awarded a title in the history of English painting.

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Appendix: Fred Leyton (http://www.yourblog.org/Data/20045/87844.html
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Frederic Leighton, 1830--1896) is the most prestigious academic painter in Britain at the end of the 19th century. His brilliant artistic light even diluted the influence of Renault, became synonymous with Royal College. Unlike most painters in the 19th century, Leyton did not study at the Royal Art Institute. He was trained in painting in Brussels, Paris, and Frankfurt and moved to Rome in 1852, classical Art has greatly influenced him. In 1855, he returned to England. His work Cimabue/'s Madonna was exhibited and purchased by Queen Victoria, a turning point in his career. In 1878, Leyton was elected as the dean of the Royal Art Institute (UK. In 1896, he was named a baron. He is the only painter in the UK to receive this award. He died in the same year.