Las óleos de todo Theodore Roussel
ID Image  Painting (From A to Z)       Details 
28469  
Theodore Roussel, Blue Thames End of a Summer Afternoon Chelsea
  		 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  
Theodore Roussel, Countess of Morton and Lady Dalkeith
  		 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  
Theodore Roussel, Oak Trees near Apremont
  		 Oak Trees near Apremont   nn07 Oil on Canvas Completed in 1852
41508  
Theodore Roussel, The Reading Girl
  		 The Reading Girl   mk164 1886-87
41550  
Theodore Roussel, The Reading Girl
  		 The Reading Girl   mk164 1886-87 Tate London
54441  
Theodore Roussel, The Reading gril
  		 The Reading gril   mk235 1887 Oil on canvas 152.4x161.3cm
Theodore Roussel
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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