All Thomas Girtin Oil Paintings

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 on canvas


Das Weibe Haus in Chelsea
Das Weibe Haus in Chelsea
Painting ID::  94487 		  1800 Dimensions 29,8 x 51,4 cm cjr
  1800 Dimensions 29,8 x 51,4 cm cjr

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Thomas Girtin Interior of Lindisfarne Priory oil on canvas


Interior of Lindisfarne Priory
Interior of Lindisfarne Priory
Painting ID::  94488 		  1797(1797) cjr
  1797(1797) cjr

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Thomas Girtin Lindisfarne oil on canvas


Lindisfarne
Lindisfarne
Painting ID::  94489 		  1798(1798) cjr
  1798(1798) cjr

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Thomas Girtin Bamburgh Castle, Northumberland oil on canvas


Bamburgh Castle, Northumberland
Bamburgh Castle, Northumberland
Painting ID::  94491 		  1797-1799 Dimensions 55 x 45 cm (21.7 x 17.7 in) cjr
  1797-1799 Dimensions 55 x 45 cm (21.7 x 17.7 in) cjr

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Thomas Girtin Die Kathedrale von Durham und die Brucke, vom Flub Wear aus gesehen oil on canvas


Die Kathedrale von Durham und die Brucke, vom Flub Wear aus gesehen
Die Kathedrale von Durham und die Brucke, vom Flub Wear aus gesehen
Painting ID::  94492 		  1799(1799) Dimensions 41,5 x 53,6 cm cjr
  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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