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Here are all the paintings of Theodore Roussel 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 28469 |
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Blue Thames End of a Summer Afternoon Chelsea |
1889
oil on canvas 83.5 x 119.4 cm
(33 x 47 1/2 in)
Private collection (mk63) |
| 79933 |
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Countess of Morton and Lady Dalkeith |
1640s
Medium Oil on panel
Dimensions 38.7 x 31.8 cm (15.2 x 12.5 in)
cyf |
| 31376 |
 |
Oak Trees near Apremont |
nn07
Oil on Canvas
Completed in 1852
|
| 41508 |
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The Reading Girl |
mk164
1886-87
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| 41550 |
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The Reading Girl |
mk164
1886-87
Tate
London
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| 54441 |
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The Reading gril |
mk235
1887
Oil on canvas
152.4x161.3cm
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| Theodore Roussel
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| English Painter, 1847-1926
English painter and etcher of French birth. He was born and educated in France and settled in England in 1878, when he quickly established a reputation. Largely self-taught, his few extant early paintings show an eclectic style that combines the techniques of the Old Masters, which he studied in detail, with the subject-matter of modern urban life. In 1885 he was introduced to James McNeill Whistler, his neighbour in Chelsea, London, and in consequence a lifelong friendship was formed. As Roussel was a member of Whistler's London circle his work in watercolour and oil was influenced by the latter in style and choice of subject-matter. His oft-quoted remark that he was a 'pupil of Whistler' is, however, belied by his frequently distinct style, as seen in such paintings as the Reading Girl (1886-7; London, Tate). In 1888 Whistler introduced him to the techniques of etching and drypoint, resulting in such etchings as the Sign of the 'White Horse', Parson's Green (c. 1893-4; see Rutter, pl. xxx). For the remainder of his life he relentlessly pursued the medium, even, like Whistler, designing his own special frames. Always fascinated by the theoretical and practical nature of colour science, he constantly experimented and was an early pioneer of the technique of colour etching in England, producing such works as Dawn.
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