Paper

Student Artwork Guide

Prophet in a Tree, 1963

Name Class Date

Alan Davie, Prophet in a Tree, 1963, Fitzwilliam College. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Alan Davie originaluniqueart.com/en/artists/alan-davie/
Artist’s dates
1920 – 2014
Original size
213 x 173 cm
Held at
Fitzwilliam College originaluniqueart.com/en/museums/fitzwilliam-college-cambridge/

In context

Prophet in a Tree, 1963 — Alan Davie

How big is it?

The original measures 213 × 173 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When might this have been painted?

  1. 1920
  2. 1930
  3. 1940
  4. 1950
  5. 1960
  6. 1970
  7. 1980
  8. 1990
  9. 2000
  10. 2010

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 94 at death.

Shaded: the lifetime of Alan Davie (1920–2014) every dated painting, decade by decade

First works: up to 1960 Main working years: 1960–1997 Late works: from 1997

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/alan-davie-prophet-in-a-tree-1963-ARABPJ-en/

Colours

Measured from the image

    Main colour

    Espresso #573926

    Catalogued palette

    • #573926
    • #AAA186
    • #18180F
    • #84764E

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Alan Davie over the last twelve months — 3 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 71.4%
    2. 2 Germany 14.3%
    3. 3 United States of America 14.3%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 8 most looked-at works by Alan Davie

    1. 1 The Alchemist's Mirror No.1 (Opus 1357), 1997 14.3%
    2. 2 The Magician's Mirror No.3 (Opus 1450), 2000 14.3%
    3. 3 Without Devices, 2004 14.3%
    4. 4 Symbols in a Landscape, 1994 14.3%
    5. 5 Magician's Mirror No.2, 2000 14.3%
    6. 6 Hallucination with Monster and Cock 14.3%
    7. 7 Entrance to a Paradise, 1949 14.3%
    8. — Prophet in a Tree, 1963 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 35 works by this artist, of which 7 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Alan Davie

    Alan Davie: A Visionary Bridging Zen and Surrealism

    James Alan Davie (September 28, 1920 – April 5, 2014) was a Scottish painter and musician whose distinctive style fused abstract expressionism with influences from Zen Buddhism and surrealist art. Born in Grangemouth, Scotland, Davie’s artistic journey began at Edinburgh College of Art in the late 1930s where he honed his skills before serving in World War II. His early exhibitions showcased a burgeoning talent for capturing ethereal landscapes and exploring profound symbolic representations.

    Early Influences: Davie's formative years were marked by exposure to European avant-garde movements, particularly Surrealism. He was deeply impacted by artists like Joan Miró and Paul Klee, whose playful use of form and color resonated with his own artistic sensibilities.

    Zen Buddhism’s Impact: A pivotal moment arrived when Davie encountered Eugen Herrigel's book “Zen in the Art of Archery,” sparking an interest in Zen philosophy. He embraced its emphasis on spontaneity and intuitive action, believing that true creativity stemmed from releasing conscious control—a principle he actively applied to his painting process.

    Technique & Method: Davie’s approach was revolutionary. Often working on paper, he employed a technique of layering paint until the original canvas was obscured, creating textured surfaces brimming with hidden depths. He famously stood above his paintings during execution, allowing gravity and chance to guide the application of pigment—a method mirroring Pollock's drip painting style.

    Exploring Symbolism & Jungian Psychology

    Davie’s artistic vision extended beyond mere visual aesthetics; he viewed art as a conduit for spiritual exploration, drawing inspiration from Carl Jung’s theories of archetypes and the unconscious mind. Like Pollock and Miró, he sought to tap into primal energies and communicate universal symbols—a conviction rooted in his belief that cultures across the globe share fundamental artistic expressions. He likened himself to a shaman, recognizing art's capacity to connect with realms beyond rational comprehension.

    Celtic Roots: Davie’s fascination with Celtic mythology and symbolism profoundly shaped his imagery. Recurring motifs of spirals, circles, and stylized landscapes reflected ancient traditions and conveyed ideas of interconnectedness and transformation.

    Jungian Resonance: Influenced by Jung's concept of the collective unconscious, Davie aimed to depict hidden patterns and archetypal energies—a deliberate effort to engage viewers on a subconscious level.

    Notable Works & Artistic Achievements

    Davie’s oeuvre comprises numerous paintings and screenprints that exemplify his distinctive style. Among his most celebrated pieces are “Woman Arranging Flowers” (1945), “Entrance For A Red Temple No. 4” (1960) and "The Magician's Mirror No.3 (Opus 1450)" (2000). These works demonstrate his mastery of color, texture, and compositional dynamism—characteristics that solidified his reputation as a leading figure in British abstract expressionism. His paintings are held in collections worldwide, including the Fine Arts Gallery in San Diego.

    Legacy & Historical Significance

    Alan Davie’s contribution to art history lies in his pioneering blend of Zen philosophy and Surrealist techniques—a synthesis that challenged conventional artistic norms and paved the way for a more expansive understanding of creative expression. He remains an influential artist whose work continues to inspire contemporary artists and collectors alike, embodying a spirit of experimentation and unwavering devotion to conveying profound symbolic meaning. His enduring legacy resides in his ability to capture the essence of human experience through evocative imagery and transformative textures—a testament to the power of art as a vehicle for spiritual contemplation.

    Museum

    Fitzwilliam College

    On show in Cambridge, United Kingdom

    A Sanctuary of Art and Antiquity: Exploring the Fitzwilliam College

    Nestled within the venerable heart of Cambridge, England, the Fitzwilliam College stands as more than simply a museum; it’s an immersive journey through the very soul of human creativity. Founded in 1816 by Richard FitzWilliam, 7th Viscount FitzWilliam with a profound desire to share his extraordinary collection, the institution has blossomed into one of the United Kingdom's most treasured cultural landmarks – a vibrant space where history whispers from ancient artifacts and masterpieces ignite the imagination. The building itself is a testament to architectural grace, George Basevi’s Founder’s Building, completed in 1843, embodies classical elegance, its inviting façade hinting at the world of artistic wonders contained within. Subsequent expansions, notably the meticulous refurbishment of the Egyptian Galleries in 2006, have seamlessly blended historical grandeur with modern functionality, creating a visitor experience that is both awe-inspiring and remarkably accessible. The Fitzwilliam isn’t just a display of objects; it's a carefully curated narrative, a sprawling tapestry woven from the threads of diverse cultures and artistic movements spanning millennia.

    The collection itself is breathtakingly vast and remarkably varied. It begins with the ancient world – imposing sarcophagi from Egypt, hinting at elaborate rituals and beliefs, stand alongside Roman sculptures and Greek pottery, offering glimpses into empires long past. Moving through time, visitors encounter Renaissance masterpieces, including stunning works by Rubens and Van Dyck, capturing the elegance of courtly life. The gallery dedicated to Old Masters is a particular highlight, showcasing the dramatic chiaroscuro techniques of Rembrandt and the vibrant color palettes of masters like Titian. But the Fitzwilliam’s treasures extend far beyond painting; intricate decorative arts from across continents – exquisitely carved ivory, shimmering silks, and delicate porcelain – tell stories of trade, cultural exchange, and artistic skill. A significant portion of the collection is devoted to antiquities, including the magnificent winged bas-relief salvaged from Nimrud, transporting visitors directly to the world of ancient Assyria and its complex mythology. The museum’s holdings also boast a remarkable selection of prints and drawings, offering intimate portraits of historical figures and scenes, alongside intricate botanical studies and architectural sketches. And let's not forget the porcelain collection – a dazzling display of craftsmanship and cultural exchange, showcasing objects from China, Japan, and Europe.

    A University Connection: A Hub of Learning and Engagement

    What truly distinguishes the Fitzwilliam Museum is its profound and vital connection to the University of Cambridge. This academic partnership isn’t merely a formality; it's woven into the very fabric of the institution, infusing it with a spirit of research, scholarship, and dynamic engagement. The museum isn’t simply a place for passive viewing; it’s designed as an active learning environment, fostering a deeper understanding of art history’s complexities – moving beyond dates and names into a living narrative of human endeavor. Regularly, the museum hosts collaborative projects with university departments, bringing cutting-edge research directly to the public, demonstrating how artistic innovation is inextricably linked to intellectual progress. This interplay between scholarly investigation and accessible interpretation makes the Fitzwilliam a truly vital cultural resource—a place where art history comes alive, resonating with both historical context and contemporary relevance. The museum’s educational programs are particularly noteworthy, offering workshops for children and adults alike, fostering a lifelong appreciation for art and culture.

    Architectural Grandeur and Modern Innovation

    The Fitzwilliam's architecture is not merely a backdrop; it’s an integral part of the experience. The Founder’s Building, completed in 1843, with its imposing classical façade, provides a striking contrast to the more modern additions, creating a harmonious blend of historical grandeur and contemporary functionality. The meticulous refurbishment of the Egyptian Galleries in 2006 is a prime example – state-of-the-art lighting and climate control systems were seamlessly integrated into the original design, ensuring that these ancient treasures are displayed with optimal care and visibility. The museum’s layout encourages exploration, guiding visitors through a carefully curated sequence of artworks and artifacts, while also providing ample space for contemplation and reflection. The building's design reflects a commitment to both preserving the past and embracing the future of art appreciation – a testament to thoughtful planning and architectural vision.

    Notable Exhibitions and Ongoing Discoveries

    The Fitzwilliam Museum’s exhibition program is consistently innovative, offering a diverse range of temporary displays that complement its permanent collection. Recent exhibitions have explored fascinating themes, from the influence of ancient Egyptian art on European painting to the evolution of portraiture throughout history. The museum regularly hosts lectures, workshops, and events catering to all ages and interests – a testament to its commitment to public engagement. Currently, the museum is deeply involved in ongoing research projects examining the provenance of certain artifacts, utilizing modern technology like 3D scanning and digital imaging to uncover hidden details and shed new light on artistic techniques and historical contexts. Keep an eye on their website for announcements about upcoming exhibitions and events – from special collections displays to thought-provoking lectures. Furthermore, the museum’s digital presence is expanding rapidly, offering virtual tours, online collections, and interactive educational resources, ensuring that its treasures are accessible to art lovers worldwide.

    A Legacy of Access: Inspiring Curiosity for All

    Perhaps most profoundly, the Fitzwilliam Museum’s dedication to free admission underscores its core mission: to inspire curiosity, promote learning, and celebrate the transformative power of art. This commitment to inclusivity ensures that these extraordinary treasures are accessible to everyone – from seasoned collectors seeking inspiration to interior designers searching for aesthetic references, or simply individuals with a desire to experience beauty firsthand. The museum’s digital engagement extends this reach beyond physical walls, offering regularly updated online collections and virtual tours, allowing art enthusiasts worldwide to explore its remarkable holdings. Educational resources tailored for schools and families further solidify the Fitzwilliam's role as a cornerstone of cultural learning, ensuring that the legacy of artistic expression continues to inspire generations to come. The museum stands as a beacon of knowledge and beauty, inviting all to delve into the captivating world of art and history.

    Where to read more

    • The artist Alan Davie originaluniqueart.com/en/artists/alan-davie/
    • The museum Fitzwilliam College originaluniqueart.com/en/museums/fitzwilliam-college-cambridge/
    • Similar works More works to compare originaluniqueart.com/en/art/similar/alan-davie-prophet-in-a-tree-1963-ARABPJ-en/

    Find this online

    QR code linking to the download page for Prophet in a Tree, 1963

    originaluniqueart.com/en/art/download/alan-davie-prophet-in-a-tree-1963-ARABPJ-en/

    Cite this artwork

    MLA
    Davie, Alan. Prophet in a Tree, 1963. n.d., Fitzwilliam College. https://originaluniqueart.com/en/art/alan-davie-prophet-in-a-tree-1963-ARABPJ-en/
    APA
    Davie, Alan (n.d.). Prophet in a Tree, 1963 [Painting]. Fitzwilliam College. https://originaluniqueart.com/en/art/alan-davie-prophet-in-a-tree-1963-ARABPJ-en/
    Chicago
    Alan Davie. Prophet in a Tree, 1963. n.d. Fitzwilliam College. https://originaluniqueart.com/en/art/alan-davie-prophet-in-a-tree-1963-ARABPJ-en/
    Harvard
    Davie, Alan (n.d.) Prophet in a Tree, 1963. Fitzwilliam College. Available at: https://originaluniqueart.com/en/art/alan-davie-prophet-in-a-tree-1963-ARABPJ-en/

    Look closely

    Prophet in a Tree, 1963 — Alan Davie

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Woman Arranging Flowers (1945), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. What might the artist have wanted you to feel?
    5. If you could ask the artist one question about this work, what would it be?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Can "Prophet in a Tree, 1963" by Alan Davie, held at the Fitzwilliam College, be legally reproduced?

    "Prophet in a Tree, 1963" by Alan Davie, held at the Fitzwilliam College, is still protected by copyright. This status determines whether reproductions of the image may be made.

    How can I get a print of "Prophet in a Tree, 1963" by Alan Davie?

    "Prophet in a Tree, 1963" is available as a fine art print on cotton canvas or archival canvas paper. Orders are placed on its Fine Art Print page, in the size of your choice.

    How is "Prophet in a Tree, 1963" by Alan Davie proportioned, and how big is it?

    The format of "Prophet in a Tree, 1963" is portrait, and the original measures 213 x 173 cm. Both are useful when planning a reproduction.