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Order Artwork Replica Eve, 1920 by Evan Walters (1892-1951) | ArtsDot.com

Eve

Evan Walters (i)


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The painting Eve by Evan Walters is a captivating artwork that showcases the artist's skill and attention to detail. Created in 1920, this oil on canvas piece measures 89 x 89 cm and is a stunning representation of a woman sitting next to a man who is lying down.

Artistic Style and Technique

The painting Eve is characterized by its use of warm colors and soft brushstrokes, which creates a sense of intimacy and tranquility. The artist's use of light and shadow adds depth and dimension to the piece, drawing the viewer's eye to the central figures. As seen in other artworks on ArtsDot.com, Evan Walters demonstrates a mastery of technique and composition.

Comparison to Other Artworks

Similar to the Portrait of Chen Shizeng by Li Yishi, which can be found on ArtsDot.com, the painting Eve showcases a strong sense of realism and attention to detail. The use of oil on canvas in both pieces creates a rich and vibrant texture that adds to the overall impact of the artwork. Handmade oil painting reproductions of the Eve are available on ArtsDot.com, allowing art enthusiasts to own a piece of history. These reproductions are created using traditional techniques and high-quality materials, ensuring that they are both durable and visually stunning.
The painting Eve by Evan Walters is a beautiful example of early 20th-century art, showcasing the artist's skill and attention to detail. As seen on ArtsDot.com, this piece is a testament to the enduring power of art to captivate and inspire us.
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Evan Walters

Evan John Walters was a Welsh artist.
Walters was born in the Welcome Inn, between Llangyfelach and Mynydd-bach, in south Wales, to nonconformist and Welsh-speaking parents, Thomas Walters (1861-1946) and Elizabeth (Thomas)(1866-1942). The area was partly rural and partly industrial. He trained first as a painter and decorator in Morriston, Swansea, but soon progressed to the Swansea School of Art, the Regent Street Polytechnic in London and the Royal Academy Schools. He emigrated to the United States in 1915, where he was conscripted into the war effort and worked as a camouflage painter. After the Armistice he returned to Wales and established himself as a portrait painter.
His first solo exhibition at the Glynn Vivian Art Gallery in Swansea in 1920 contained, among other works three pictures related to the local mining communities and proved a turning point in his career. The exhhibition attracted the attention of Winifred Coombe Tennant, who would become Walters's most important patron. After meeting Walters to commission him to paint her portrait and portraits of her husband and children, she described him as "A young dark typical Welshman. Very intelligent and pleasant... He has genius." His fame in Wales grew when he became joint winner of a number of art prizes at the 1926 National Eisteddfod of Wales in Swansea, where Augustus John was one of the two adjudicators. Walters had designed the poster advertising the Eisteddfod but the entire print run was pulped due to a perceived sexual innuendo in the design. Winifred Coombe Tennant managed to save a single copy. That year he was also given a one-man exhibition in the Dorothy Warren Gallery in London, where his industrial subject manner was embraced by left-leaning critics in the wake of the General Strike. This and John's opinion that "a new genius had emerged" were widely reported in the London press. He was characterised as a "collier-artist", though he had never worked in the coal industry. During the General Strike, Walters painted Welsh Funeral Hymn showing four naked youths, marked with stigmata, on a coal tip with a choir and chapel in the background.
By the spring of 1936 Walters had developed a theory of perception that was to have a calamitous outcome for him. This was an investigation into "double vision" or to use the scientific term, physiological diplopia. His experimentation with producing "double vision" paintings became almost an obsession and an exhibition of November 1936 at the Coolings Gallery, London of these works was not a success and not one of the twenty- two pictures was sold. Walters wrote an essay on his ideas, The Third Dimension, and continued to champion the theory, without any success, for the rest of his life.

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