Feel the passion of John Warwick Smith in our art prints.

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Feel the passion of John Warwick Smith in our art prints.

Our art reproductions bring moments of comfort directly into your home.

Discover Artworks Now!
John Warwick Smith
Passionate Customer Service
Museum Quality Art Prints
Customization Options Available
Österreichische Kunstmanufaktur Passionate Customer Service
Museum Quality Art Prints
Customization Options Available


The most popular works of John Warwick Smith

These artworks are particularly popular with our customers.

The Bishop's Palace, Auckland Ca...
Undated | watercolour on paper

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Naples From Sir William Hamilton...
1780 | Pencil and watercolour on paper

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The most popular works of John Warwick Smith

These artworks are particularly popular with our customers.


Discover more artworks by John Warwick Smith

Discover more artworks by John Warwick Smith

124 artworks found
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John Warwick Smith
Auckland Castle, Co. Durham - Vi...
Undated | watercolour on paper

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John Warwick Smith
The Colosseum, Rome, 1802 (wc ov...
1802 | watercolour over graphite on wove paper

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John Warwick Smith
'The Glacier des Bossons, Chamon...
1946 | watercolour

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
Mount Splugen, Swiss-Italian Bor...
1781 | watercolour on paper

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John Warwick Smith
No.2289 Chiesa della Santa Casa,...
Undated |

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John Warwick Smith
 
1781 | Watercolor on paper

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John Warwick Smith
Saint Michaels Mount, Cornwall
1764 | Watercolor on paper

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John Warwick Smith
Ullswater, Looking toward Patter...
1792 | Watercolor on paper

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John Warwick Smith
 
Undated | Watercolor over graphite on medium, slightly textured, cream wove paper

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John Warwick Smith
River Scene
Undated | oil on canvas

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John Warwick Smith
 
Undated | Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper

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John Warwick Smith
Ullswater, Looking toward Patter...
Undated | Watercolor over graphite on medium, slightly textured, cream laid paper

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John Warwick Smith
 
Undated | Watercolor over graphite on medium, smooth, cream wove paper

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John Warwick Smith
 
1787 | Watercolor on paper

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John Warwick Smith
 
1788 | Watercolor on paper

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John Warwick Smith
Ascending From The Valley Of Sal...
Undated | watercolour, pencil and gum arabic on paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
Llanelltyd Bridge over the Maw, ...
1790 | watercolour on paper

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John Warwick Smith
Tintern Abbey by Moonlight, ca. ...
Undated | watercolour

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John Warwick Smith
Civita Castellana, c1792-1799
1792 | watercolour

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John Warwick Smith
Isola Madre, Lago Maggiore, c.17...
Undated | watercolour over graphite on laid paper

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John Warwick Smith
Windermere
Undated | watercolour on paper

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John Warwick Smith
Val dAosta, Piedmont (wc)
Undated | watercolour

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John Warwick Smith
Tan y Bwlch, 1793 (pen und ink w...
1793 | pen and ink with watercolour on paper

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John Warwick Smith
The Upper end of Coniston Lake, ...
1801 | watercolour on paper

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John Warwick Smith
 
1784 | Watercolor on paper

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John Warwick Smith
The Val dAosta, Piedmont
1784 | Watercolor on paper

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John Warwick Smith
The Falls of Tivoli with three f...
Undated | watercolour

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John Warwick Smith
 
1802 | Watercolor on paper

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John Warwick Smith
The Glacier Des Bossons, Chamoni...
Undated | lithograph

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John Warwick Smith
 
1797 | Watercolor on paper

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John Warwick Smith
Llangollen (watercolor on paper)
Undated | watercolour on paper

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John Warwick Smith
Lake Lugano (watercolor on paper)
Undated | watercolour on paper

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John Warwick Smith
 
Undated | Watercolor over graphite on medium, slightly textured, beige wove paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
Castle Point (watercolor on paper)
Undated | watercolour on paper

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John Warwick Smith
Entrance to the Grotto of Posill...
Undated | watercolour

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John Warwick Smith
 
597 | Watercolor on paper

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John Warwick Smith
 
Undated | Watercolor, brown ink, and graphite on medium, slightly textured, cream wove paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
 
1808 | Watercolor on paper

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John Warwick Smith
The Villa Medici, Rome, 1784 (wc...
1784 | watercolour over graphite on paper

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John Warwick Smith
 
Undated | Watercolor over graphite on thick, slightly textured, cream laid paper

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John Warwick Smith
 
1797 | Watercolor on paper

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John Warwick Smith
Lake Albano (watercolor on paper)
Undated | watercolour on paper

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John Warwick Smith
View from the Vidette Near Hakin...
1764 | Watercolor on paper

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John Warwick Smith
 
Undated | watercolour and graphite on paper

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John Warwick Smith
Ruins of Cricceith Castle and Pa...
undatiert | Watercolor on paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
Llanelltyd Bridge over the Maw, ...
1790 | pen and ink on paper

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John Warwick Smith
 
1781 | Watercolor on paper

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John Warwick Smith
 
Undated | Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper

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John Warwick Smith
 
Undated | Gray wash, brown wash, and graphite on medium, slightly textured, cream laid paper

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John Warwick Smith
 
Undated | Watercolor, black ink, and graphite on medium, slightly textured, cream wove paper

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John Warwick Smith
 
1788 | Watercolor on paper

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John Warwick Smith
 
1789 | Watercolor on paper

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John Warwick Smith
 
Undated | watercolour over pencil on paper

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John Warwick Smith
Villa Of The Maecena And The Cas...
Undated | watercolour, gouache, and pencil

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
 
undatiert | Watercolor on paper

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John Warwick Smith
 
143 | Watercolor on paper

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John Warwick Smith
A view of Civita Castellana
Undated | watercolour on paper

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John Warwick Smith
 
Undated | Watercolor over graphite on medium, slightly textured, cream laid paper

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John Warwick Smith
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John Warwick Smith
 
1781 | Graphite on paper

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John Warwick Smith
 
1784 | Watercolor on paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
 
Undated | Watercolor over graphite on moderately thick, moderately textured, beige laid paper

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John Warwick Smith
Llyn Idwal, on the approach to i...
1795 | watercolour on paper

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John Warwick Smith
 
1790 | Watercolor on paper

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John Warwick Smith
Alpine Bridge and Woodland Scene...
1764 | Watercolor on paper

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John Warwick Smith
 
1795 | watercolour

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John Warwick Smith
 
undatiert | Watercolor on paper

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John Warwick Smith
 
1764 | Graphite on paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
 
1792 | Watercolor on paper

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John Warwick Smith
 
1777 | Watercolor on paper

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John Warwick Smith
 
Undated | Watercolor and gouache over graphite on medium, rough, cream laid paper

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John Warwick Smith
 
Undated | Watercolor over graphite on medium, slightly textured, cream wove paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
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John Warwick Smith
 
Undated | watercolour

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John Warwick Smith
 
Undated | Watercolor and graphite on very thick, slightly textured, cream wove paper

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John Warwick Smith
Village Of St Giorgio Near Porti...
Undated | watercolour, gouache, pencil and gum Arabic on paper

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John Warwick Smith
View on the Fraeth Mawr Sands, t...
1795 | watercolour on paper

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John Warwick Smith
 
Undated | Watercolor over graphite on medium, slightly textured, cream wove paper in contemporary line mount

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John Warwick Smith
Lake Windemere from Calgarth wit...
Undated | watercolour over graphite on paper

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John Warwick Smith
 
1764 | Watercolor on paper

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John Warwick Smith
 
1806 | Watercolor on paper

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John Warwick Smith
Alpine Scene (grey wash over gra...
Undated | grey wash over graphite on paper

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John Warwick Smith
 
Undated | watercolour over pencil on paper

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John Warwick Smith
'View on the Fraeth Mawr Sands, ...
Undated | pen & ink on paper

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Page 1 / 2



John Warwick Smith

  July 26, 1749
  March 22, 1831
   •   Landscape painting   •   Wikipedia: John Warwick Smith

John "Warwick" Smith was born the son of a gardener. It was a fortunate coincidence for the boy that his father was employed by the prestigious Gilpin family of artists. Sawery Gilpin was a famous animal painter, his brother William Gilpin ran an art school. So Smith was able to study art with Sawery Gilpin. The Gilpins regularly took the young Smith on their drawing excursions in the country between 1770 and 1776. Smith showed a special talent for topographic drawings. He was commissioned by the engraver Samuel Middleman to create landscape scenes for his work "Select Views in Great Britain". During a journey to Derbyshire in 1775 Smith met the 2nd Lord of Warwick, George Greville. Greville became his greatest patron. His nickname Warwick derives from his close relationship with Greville.

Greville enabled Smith to travel to Italy between 1776 and 1781. He spent some time in Naples, Rome and the Campania region, among other places. This trip earned him the name of the Italian Smith. There he met other British artists such as Thomas Hearne, William Pars and Francis Towe, with whom he later maintained a close relationship. With Towe, he began his return journey to England, making a few stops on the Italian and Swiss lakes to paint the extraordinary landscape. Back in England Smith settled in Warwick. There he married Elizabeth Gerrard, who was still under age, in 1783. Apart from a second trip to Italy between 1785 and 1786 with Lord Warwick's brother Robert and the painter Julius Caesar Ibbetson, Smith spent the rest of his life mainly in England. He undertook many domestic journeys. He spent particularly much time in Wales and in the north-west of the Lake District.

When Smith was accepted into the Watercolor Society, he decided to settle in London in 1807. He exhibited regularly with the Society until 1823 and was an active member before he finally retired. For several years, he was elected president of the Society and took over other positions again and again. But Smith was not so much appreciated by all his contemporaries. William Turner, for example, described his style as "mechanically systematic". Many critics agreed that his work became increasingly traditional towards the end. What was innovative, however, was his use of color. Contrary to the old tradition of landscape painting, Smith began to avoid painting outlines in ink and instead relied exclusively on strong colors. In paintings such as "Bay by Moonlight," he also created the reflections of moonlight by scraping off the previously applied pigments from the canvas, thus revealing the white canvas beneath.

John Warwick Smith

  July 26, 1749
  March 22, 1831
   •   Landscape painting   •   Wikipedia: John Warwick Smith

John "Warwick" Smith was born the son of a gardener. It was a fortunate coincidence for the boy that his father was employed by the prestigious Gilpin family of artists. Sawery Gilpin was a famous animal painter, his brother William Gilpin ran an art school. So Smith was able to study art with Sawery Gilpin. The Gilpins regularly took the young Smith on their drawing excursions in the country between 1770 and 1776. Smith showed a special talent for topographic drawings. He was commissioned by the engraver Samuel Middleman to create landscape scenes for his work "Select Views in Great Britain". During a journey to Derbyshire in 1775 Smith met the 2nd Lord of Warwick, George Greville. Greville became his greatest patron. His nickname Warwick derives from his close relationship with Greville.

Greville enabled Smith to travel to Italy between 1776 and 1781. He spent some time in Naples, Rome and the Campania region, among other places. This trip earned him the name of the Italian Smith. There he met other British artists such as Thomas Hearne, William Pars and Francis Towe, with whom he later maintained a close relationship. With Towe, he began his return journey to England, making a few stops on the Italian and Swiss lakes to paint the extraordinary landscape. Back in England Smith settled in Warwick. There he married Elizabeth Gerrard, who was still under age, in 1783. Apart from a second trip to Italy between 1785 and 1786 with Lord Warwick's brother Robert and the painter Julius Caesar Ibbetson, Smith spent the rest of his life mainly in England. He undertook many domestic journeys. He spent particularly much time in Wales and in the north-west of the Lake District.

When Smith was accepted into the Watercolor Society, he decided to settle in London in 1807. He exhibited regularly with the Society until 1823 and was an active member before he finally retired. For several years, he was elected president of the Society and took over other positions again and again. But Smith was not so much appreciated by all his contemporaries. William Turner, for example, described his style as "mechanically systematic". Many critics agreed that his work became increasingly traditional towards the end. What was innovative, however, was his use of color. Contrary to the old tradition of landscape painting, Smith began to avoid painting outlines in ink and instead relied exclusively on strong colors. In paintings such as "Bay by Moonlight," he also created the reflections of moonlight by scraping off the previously applied pigments from the canvas, thus revealing the white canvas beneath.





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Frequently Asked Questions about Meisterdrucke


Personalizing your art print at Meisterdrucke is a simple and intuitive process that allows you to design an artwork exactly to your specifications: Choose a frame, determine the image size, decide on a printing medium, and add suitable glazing or a stretcher frame. We also offer customization options such as mats, fillets, and spacers. Our customer service is available to help you design your perfect artwork.

At Meisterdrucke, you have the fascinating option to visualize the artwork you configured directly in your own space. For a tailored preview, simply upload a photo of your room and let the artwork appear on it. If you visit us via a mobile device, be it a phone or tablet, our augmented reality feature brings the image to life and seamlessly projects it into your space. An experience that uniquely combines art and technology.

Choosing the medium is often a matter of personal taste. To give you a clearer idea, we have provided some images for each medium. For a holistic experience, we also offer you a sample set of all paper variants so you can make a decision not just visually but also haptically. You can take advantage of the sample set free of charge – only the shipping costs will apply. You can order the sample set directly.

Do not worry. At Meisterdrucke, we do not proceed mechanically. We manually review each order. If there are any inconsistencies or peculiarities in the configuration, we will immediately contact you. Of course, our courteous and patient support is always at your side to assist you with the configuration. Together with you, we adjust your image by phone or email so that the final result exactly meets your expectations.


Do you have any questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00

Do you have any questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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        9586 Finkenstein am Faaker See
        Austria
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        support@meisterdrucke.com
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Kärntner Strasse 46
9586 Finkenstein am Faaker See · Austria
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