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Spirit of Blickling Hall Painting

Carolin Winkler

United Kingdom

Painting, Oil on Canvas

Size: 39.4 W x 39.4 H x 2 D in

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About The Artwork

The Spirit of Blickling Hall Oil on canvas, 100cmx100cm The original painting was exhibited and sold through the Red Dot Gallery in Norfolk, however prints are available. The painting depicts an encounter with a bovine spirit entity as the embodiment of Blickling Hall (a beautiful, Jacobean manor in Norfolk, managed by the National Trust). The estate’s rich history and visitor’s points of interest mapped out on the bull’s embroidered cloak. The encounter happens at night, as you are walking through a wooded part of the grounds, reeds and rose bushes underfoot. You hear the croaking of a small frog and you notice the hall, in the distance, take on a ghostly glow. Suddenly, leaves rustle just ahead of you and you find yourself face to face with a gentle beast with kind, dark eyes. An unusually large ermine moth lands on his neck and he snorts a breath as you take in his magical beauty. You want to reach out and ruffle his fur. But as you go to do so, he fades away, and you are left alone to continue along your path. Notes on symbolic content (from top left, clockwise): Oak leaves and golden acorn:​ representing the National Trust, who manage the estate; decorative/stylised - a nod to William Morris patterns often found in NT gift shops Blickling Hall:​ having a ghostly appearance, crown-like in placement above the bull’s head, lake suggested in the shape behind. Yew branches:​ reference to the ancient yew hedges at the hall Cloak with embroidered imagery:​ representation of stories weaving through time: Taurus constellation​ (bull), ​Sun in Splendour​ (fire dogs in library, Tudors), ​squirrel​ (from carved bench on the estate), ​dog​ (past hunting dogs, present dog walkers), ​orange​ (for the orangery), ​waterlily​ (in the garden), ​topiary​ (parterre), ​urn​ (garden’s planters), ​white falcon and ​‘B’ necklace​ (Anne Boleyn), ​Tudor rose,​ ​the clock tower,​ ​the Mausoleum​, Harold Harefoot (as a ​hare with crown​, he originally owned the site), ​pike fish​ (I saw one in the lake when visiting), ​bluebells​ (as a tourist attraction), ​daffodil​, ​Albrecht Duerer book​ (from the important collection at the hall), ​partridge​ (an episode of ​I’m Alan Partridge​ was set at Blickling) Rose:​ tudor rose and rose garden Reeds:​ found all around the lake Frog:​ nature, lake, wildlife Moth:​ ermine moth, a reference to the ermine worn on the cloaks of royalty Bull:​ Boleyn, Hobart, bull imagery around the estate, White Park (old English breed) For the visual language of the painting, I gained particular inspiration from ​Painting of the Dodo​ by Roelandt Savery, and the Elizabethan/Jacobean portrait artist Robert Peake the Elder. The symbol of the bull cropped up repeatedly during my research, and I realised it could be a strong unifying factor; something tangible and emotive.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 39.4 H x 2 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Born in 1990, I grew up in Germany, Austria, and the UK. I attended art college in Vienna, then completed a BA in Fine Art from the University of Aberystwyth, in Wales. I now live in England, on the edge of the very chalky Chiltern Hills, working out of my home studio. Statement Many of my drawings and paintings fall somewhere between the representational and the abstract. What particularly interests me then, is the process of visually expressing the juncture between outward and inward-looking perception, both being inextricably intertwined. Usually beginning with a physical point of reference, the focus shifts to formal composition, and to fantasy. At their best, they are a record of my most joyful moments, listening to music and letting inspiration and imagination steer the course. With regard to the colour grid paintings, the intent has been more focused on achieving a sense of time and place, evoked by time- and place-specific colour palettes. I view them predominantly as little, decorative gems. I have also, in the last few years, begun a series of breath-directed drawings. I work from left to right, top to bottom, across a piece of paper in a rhythm of continuous, predetermined, binary marks. When I am breathing in, I repeat one mark. When I am breathing out, I switch to repeating the second mark. The resulting tapestry of visual movement and texture is determined by my breath and grown organically from it. They are a visual representation of time passing, separated into smaller increments of presence. At once spacial and temporal. The drawings are informed by a lifelong interest in mindfulness and the concept of the present moment. Aside from the above, I am regularly engaged in drawing and painting from life (en plain air, still lifes, portrait studies etc.) and various types of commission (from paintings and photography, to logos and business cards).

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