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Morpeth Bridge, about 1802 (Ink and watercolour)
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Morpeth Bridge, about 1802 (Ink and watercolour)
7290951 Morpeth Bridge, about 1802 (Ink and watercolour) by Girtin, Thomas (1775-1802); 32.1x52.9 cm; Tyne & Wear Archives & Museums; (add.info.: Thomas Girtin (1775-1802) Morpeth Bridge, about 1802 Ink and watercolour Height 32.1 x Width 52.9 cm Purchased with grant aid from the Trustees of the John Wigham Richardson Bequest, the Victoria and Albert Museum Purchase Grant Fund, The Art Fund, and the Friends of the Laing Art Gallery, 1979 TWCMS : D4812
Thomas Girtin painted this view from sketches made during his extended tour of Northumberland in 1800. He used thick, slightly rough paper, which breaks up the colour and helps create a sense of air and weather. Bare paper has been left for the two tiny figures on the bridge. Girtin used harmonious gold, brown, and grey watercolour washes. He avoided preliminary grey shading, as used by earlier artists, so creating a brighter and more naturalistic effect.); Tyne & Wear Archives & Museums
Media ID 26406956
© Tyne & Wear Archives & Museums / Bridgeman Images
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This print showcases Thomas Girtin's stunning artwork titled "Morpeth Bridge, about 1802". Created using ink and watercolour, the piece measures 32.1x52.9 cm and is currently held by Tyne & Wear Archives & Museums. Girtin painted this picturesque scene based on sketches he made during his extensive exploration of Northumberland in 1800. The artist opted for thick, slightly rough paper to add texture and depth to the composition, effectively capturing the essence of air and weather. Notably, Girtin left areas of bare paper untouched to highlight two minuscule figures standing on the bridge. In terms of colour palette, Girtin employed harmonious gold, brown, and grey watercolour washes that blend seamlessly together. Unlike earlier artists who utilized preliminary grey shading techniques, Girtin's approach resulted in a brighter and more naturalistic effect. The acquisition of this remarkable artwork was made possible through generous grants from various sources including the Trustees of the John Wigham Richardson Bequest, the Victoria and Albert Museum Purchase Grant Fund, The Art Fund, as well as contributions from Friends of the Laing Art Gallery in 1979. This exquisite print not only captures a moment frozen in time but also serves as a testament to Thomas Girtin's exceptional talent as an artist.
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