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Collective Title Gilpin's Day

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Rev. William Gilpin The Sun rises ruddy, and turbid, and just touches the tops of the highest ground (Design for Plate 1)
Rev. William Gilpin, 1724–1804
The Sun rises ruddy, and turbid, and just touches the tops of the highest ground (Design for Plate 1)
undated
Rev. William Gilpin The effect here intended, is that of reflection of a bright sky on the water, when the Sun itself is obscured (Design for Plate 11)
Rev. William Gilpin, 1724–1804
The effect here intended, is that of reflection of a bright sky on the water, when the Sun itself is obscured (Design for Plate 11)
undated
Rev. William Gilpin Evening, the picturesque time of the Day, is now coming on; the Sun, varying from its meridian, is beginning to descend, and the light is more contracted (Design for Plate 20)
Rev. William Gilpin, 1724–1804
Evening, the picturesque time of the Day, is now coming on; the Sun, varying from its meridian, is beginning to descend, and the light is more contracted (Design for Plate 20)
undated
Rev. William Gilpin The same idea is continued; but the sky is still more tinged with its warm evening hue (Design for Plate 21)
Rev. William Gilpin, 1724–1804
The same idea is continued; but the sky is still more tinged with its warm evening hue (Design for Plate 21)
undated
Rev. William Gilpin The evening glow now pervades the Landscape strongly (Design for Plate 25)
Rev. William Gilpin, 1724–1804
The evening glow now pervades the Landscape strongly (Design for Plate 25)
undated
Rev. William Gilpin A calm Sun-set; the Sun is supposed to be setting behind the rising ground on which the ruin stands (Design for Plate 27)
Rev. William Gilpin, 1724–1804
A calm Sun-set; the Sun is supposed to be setting behind the rising ground on which the ruin stands (Design for Plate 27)
undated
Rev. William Gilpin The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)
Rev. William Gilpin, 1724–1804
The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)
undated
Rev. William Gilpin Here the evening closes in more mildly. The Sun leaves only a faint light on the sky, but without the power of touching even the highest objects with its light (Design for Plate 30)
Rev. William Gilpin, 1724–1804
Here the evening closes in more mildly. The Sun leaves only a faint light on the sky, but without the power of touching even the highest objects with its light (Design for Plate 30)
undated
Rev. William Gilpin The same idea is continued, only the atmosphere is somewhat more hazy (Design for Plate 6)
Rev. William Gilpin, 1724–1804
The same idea is continued, only the atmosphere is somewhat more hazy (Design for Plate 6)
undated
Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 19)
Rev. William Gilpin, 1724–1804
These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 19)
undated
Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 15)
Rev. William Gilpin, 1724–1804
These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 15)
undated
Rev. William Gilpin The evening glow now pervades the Landscape strongly (Design for Plate 24)
Rev. William Gilpin, 1724–1804
The evening glow now pervades the Landscape strongly (Design for Plate 24)
undated
Rev. William Gilpin The mild effusions of evening light, which pervade the three last Landscapes, are here changed into a wild, turbid sky, prognosticating a storm (Design for Plate 26)
Rev. William Gilpin, 1724–1804
The mild effusions of evening light, which pervade the three last Landscapes, are here changed into a wild, turbid sky, prognosticating a storm (Design for Plate 26)
undated
Rev. William Gilpin The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)
Rev. William Gilpin, 1724–1804
The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)
undated
Rev. William Gilpin The same idea is continued; only here the Sun rises with a fainter and more wan lustre (Design for Plate 2)
Rev. William Gilpin, 1724–1804
The same idea is continued; only here the Sun rises with a fainter and more wan lustre (Design for Plate 2)
undated
Rev. William Gilpin The Sun here gets more force, and beams along the surface of the ground; but the Day is setting in cloudy, and obscure (Design for Plate 3)
Rev. William Gilpin, 1724–1804
The Sun here gets more force, and beams along the surface of the ground; but the Day is setting in cloudy, and obscure (Design for Plate 3)
undated
Rev. William Gilpin The Sun still gets more power, and objects begin to appear more distinctly (Design for Plate 4)
Rev. William Gilpin, 1724–1804
The Sun still gets more power, and objects begin to appear more distinctly (Design for Plate 4)
undated
Rev. William Gilpin As the Day advances, the Morning gets clearer. The Sun shines out; but without much strength (Design for Plate 9)
Rev. William Gilpin, 1724–1804
As the Day advances, the Morning gets clearer. The Sun shines out; but without much strength (Design for Plate 9)
undated
Rev. William Gilpin The Sun is clouded; but as there is not much haziness in the atmosphere, the several parts of the country appear very distinctly (Design for Plate 7)
Rev. William Gilpin, 1724–1804
The Sun is clouded; but as there is not much haziness in the atmosphere, the several parts of the country appear very distinctly (Design for Plate 7)
undated
Rev. William Gilpin The Sun is obscured, and the atmosphere inclines to rain (Design for Plate 10)
Rev. William Gilpin, 1724–1804
The Sun is obscured, and the atmosphere inclines to rain (Design for Plate 10)
undated
Rev. William Gilpin As it is now high noon, which always affords an unfavourable light to the painter ... It here shines wanly and hazily upon the cliffs (Design for Plate 12)
Rev. William Gilpin, 1724–1804
As it is now high noon, which always affords an unfavourable light to the painter ... It here shines wanly and hazily upon the cliffs (Design for Plate 12)
undated
Rev. William Gilpin As it is now high noon, which always affords an unfavourable light to the painter, he avoids, as much as he can, the vertical rays of the Sun... The same effect is here exhibited in a lake scene (Design for Plate 14)
Rev. William Gilpin, 1724–1804
As it is now high noon, which always affords an unfavourable light to the painter, he avoids, as much as he can, the vertical rays of the Sun... The same effect is here exhibited in a lake scene (Design for Plate 14)
undated
Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 16)
Rev. William Gilpin, 1724–1804
These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 16)
undated
Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 17)
Rev. William Gilpin, 1724–1804
These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 17)
undated
Rev. William Gilpin Album of Twenty-four Drawings for 'Gilpin's Day'
Rev. William Gilpin, 1724–1804
Album of Twenty-four Drawings for 'Gilpin's Day'
compiled 1795