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Student Artwork Guide

Golfer Resting

Name Class Date

John Kyffin Williams, Golfer Resting (1950), Llyfrgell Genedlaethol Cymru / The National Library of Wales. 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
John Kyffin Williams originaluniqueart.com/en/artists/john-kyffin-williams/
Artist’s dates
1918 – 2006
Painted
1950
Medium
Oil On Canvas
Original size
20 x 27 cm
Movement
Romantic Landscape Art that puts feeling, wildness and the power of nature above calm order and rules.
Held at
Llyfrgell Genedlaethol Cymru / The National Library of Wales originaluniqueart.com/en/museums/llyfrgell-genedlaethol-cymru-the-national-library-of-wales-aberystwyth/
Artistic style
Landscape Painter
Influences
Welsh Landscape
Notable elements or techniques
Bold impasto technique
Subject or theme
Golf

In context

Golfer Resting — John Kyffin Williams

How big is it?

The original measures 20 × 27 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960
  7. 1970
  8. 1980
  9. 1990
  10. 2000

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 88 at death.

Painted when the artist was 32. The artist lived to 88. 13 of the 88 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of John Kyffin Williams (1918–2006) ▲ this work, 1950 every dated painting, decade by decade

First works: up to 1950 Main working years: 1950–2004 Late works: from 2004

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

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/john-kyffin-williams-golfer-resting-AQS77P-en/

Colours

Measured from the image

    Main colour

    Espresso #564942

    Catalogued palette

    • #564942
    • #8F7658
    • #35272A
    • #79624B

    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
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced 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 John Kyffin Williams over the last twelve months — 7 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 70.2%
    2. 2 United Kingdom 14.0%
    3. 3 Singapore 5.3%
    4. 4 Hong Kong 3.5%
    5. 5 United States of America 3.5%
    6. 6 South Korea 1.8%
    7. 7 Vietnam 1.8%

    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 20 most looked-at works by John Kyffin Williams

    1. 1 Golfer Resting, 1950 this painting 5.7%
    2. 2 Welsh Black Bull, 2006 4.3%
    3. 3 Crib Coch and Llanberis Pass 4.3%
    4. 4 Chapel at Dinorwic, 2000 2.9%
    5. 5 Mountain Valley Cottages, 2006 2.9%
    6. 6 Sunflowers with Mountains Beyond, 1950 2.9%
    7. 7 Mountain Torrent, 1950 2.9%
    8. 8 Alpine Mountains Y Grib Goch, 2006 2.9%
    9. 9 Yellow Fields under a Grey Sky, 1960 2.9%
    10. 10 The Way to the Cottages, 2006 2.9%
    11. 11 Hampstead Heath, 1950 2.9%
    12. 12 Storm, 1960 2.9%
    13. 13 Fresians in a Field with the Coast Beyond, 1950 2.9%
    14. 14 Highgate West Hill 2.9%
    15. 15 Fferm Fynydd Hill Farm (recto) 2.9%
    16. 16 Wave on Stormy Sea, 2006 2.9%
    17. 17 Hills above Nant Peris 2.9%
    18. 18 Portrait of a Young Woman Looking Left, 1970 1.4%
    19. 19 Fusilier Dean (The Depot, Wrexham 1948), 1948 1.4%
    20. 20 John Dafydd Evans (1900–1984), 1945 1.4%

    Together these works take 59.1% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 132 works by this artist, of which 49 were looked at at least once. This painting ranks 1 of them, with 5.7% of that attention. 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.

    About this artwork

    Golfer Resting — John Kyffin Williams

    A Vision of Welsh Landscape: Exploring John Kyffin Williams’s “Golfer Resting”

    John Kyffin Williams (1918-2006) – Wales' defining landscape painter. Evocative depictions of Welsh farms, Patagonia & Venice using bold impasto technique. RA, OBE, KBE. His work transcends mere representation; it embodies the soul of a region and captures moments of quiet contemplation within its grandeur. “Golfer Resting,” painted in 1950, exemplifies this artistic philosophy perfectly. This unassuming portrait reveals layers of meaning beneath its surface simplicity.

    Subject Matter and Composition

    The painting centers around a solitary golfer seated on the grass before what appears to be a modest patch of vegetation. While seemingly mundane at first glance—a pastime enjoyed by many—Williams elevates it into something profound. The figure’s posture exudes relaxation, suggesting a deliberate pause amidst the activity of play. Notably, Williams incorporates several additional figures in the background, albeit rendered smaller and less prominent than the central subject. This compositional choice isn't accidental; it serves to contextualize the golfer within the broader landscape, emphasizing his connection to nature and hinting at themes of solitude and reflection. The artist skillfully utilizes perspective to draw the viewer’s eye into the scene, creating a sense of depth and immersion.

    Style and Technique: Impasto – A Bold Expression

    Williams' distinctive style is characterized by “impasto,” a technique where paint is applied thickly onto the canvas surface, resulting in textured ridges that catch the light. This method isn’t merely decorative; it’s integral to conveying emotion and capturing the essence of Welsh terrain. The bold impasto captures the ruggedness of the landscape—the rough grasses, the weathered stone—mirroring the resilience and enduring beauty of Wales itself. Furthermore, Williams employs a muted color palette dominated by earthy tones – ochres, siennas, and umbers – reinforcing the painting’s connection to its environment and fostering a feeling of tranquility. The artist's meticulous brushstrokes reveal an unwavering dedication to capturing subtle nuances of light and shadow, enhancing the visual impact of the artwork.

    Historical Context: Wales in Mid-Century Calm

    Painted during the mid-century period, “Golfer Resting” reflects a broader cultural shift toward introspection and appreciation for rural life following World War II. Williams’s artistic vision aligns with the prevailing mood of quiet contemplation—a deliberate contrast to the anxieties of the time. The painting speaks to a desire for simplicity and connection with nature, values that resonated deeply within Welsh society during this era. Considering Williams's lifelong fascination with Wales and his commitment to portraying its landscapes truthfully, this artwork embodies a core element of his artistic legacy: an unwavering devotion to capturing the spirit of his homeland.

    Symbolism and Emotional Resonance

    Beyond its visual elements, “Golfer Resting” carries symbolic weight. The golfer represents humanity’s pursuit of balance—a moment of respite from the pressures of daily life—while simultaneously acknowledging the inescapable influence of the natural world. The stillness of the scene invites contemplation on themes of perseverance, acceptance, and finding solace in solitude. Williams' masterful use of color and texture contributes to the painting’s emotional impact, fostering a sense of serenity and conveying an underlying appreciation for the beauty of Welsh countryside. It is a piece that lingers in the mind long after viewing, prompting viewers to consider their own relationship with nature and the importance of mindful moments.

    Artist and museum

    Artist

    John Kyffin Williams

    Born in Llangefni, United Kingdom

    A Defining Voice of Welsh Landscape

    Sir John “Kyffin” Williams, a name synonymous with the very spirit of Wales, stands as a monumental figure in 20th-century British art. More than just a painter, he was a cultural ambassador, a storyteller who translated the rugged beauty and emotional depth of his homeland onto canvas with unparalleled skill. Born in Llangefni, Anglesey, in 1918, Williams’s life journey was as textured and compelling as the impasto surfaces that became his signature. His connection to Wales wasn't merely geographical; it was woven into the fabric of his being, a heritage both cherished and complicated by a mother who seemingly distanced herself from Welsh language and culture. This early tension perhaps fueled a lifelong dedication to visually capturing and celebrating the land she subtly discouraged him from embracing.

    From Military Service to Artistic Awakening

    Williams’s path to becoming Wales' foremost artist wasn’t straightforward. Educated at Moreton Hall School and Shrewsbury, his life took an unexpected turn with a bout of polio encephalitis that led to epilepsy. Ironically, this health challenge proved pivotal. Advised by doctors to pursue art as therapy, he discovered a profound connection within himself—a creative impulse ignited by the emotional resonance found in the works of Piero della Francesca. This encounter sparked a lifelong devotion to artistic expression. A brief stint in the 6th Battalion Royal Welch Fusiliers was cut short due to his medical condition, but it wasn’t a detour; rather, it freed him to enroll at London's Slade School of Fine Art during its wartime relocation to Oxford. There, he honed his skills and earned the prestigious Slade Portrait Prize, laying the foundation for a remarkable career.

    A Life Dedicated to Teaching and Exploration

    For many years, Williams balanced his artistic pursuits with a dedicated teaching career, serving as senior art master at Highgate School in London from 1944 until 1973. He nurtured generations of young artists, among them Sir Martin Gilbert, Anthony Green, Patrick Procktor, John Tavener and John Rutter—a testament to his influence and mentorship. However, it was a Winston Churchill Fellowship in 1968 that dramatically altered his artistic trajectory. This opportunity allowed him to travel to Y Wladfa, the Welsh settlement in Patagonia, an experience that profoundly impacted his palette and subject matter. The vast landscapes of Patagonia, so different yet echoing the spirit of Wales, infused his work with a new vibrancy and emotional intensity. He documented this journey not only through paintings but also in his engagingly anecdotal book, “Across the Straits.”

    Technique, Themes, and Lasting Legacy

    Kyffin Williams developed a distinctive technique characterized by thick oil paint applied with a palette knife—a method that created textured surfaces and bold impasto effects. This wasn’t merely a stylistic choice; it was a way to convey the ruggedness of the Welsh countryside, the weight of its history, and the emotional resonance of its landscapes. His subjects were broad, encompassing evocative depictions of Wales, striking scenes from Patagonia, and atmospheric studies of Venice. But it was his portrayal of Wales—its farms, mountains, and people—that truly defined him. He captured not just what he saw but how it felt to be Welsh, imbuing his paintings with a sense of place and belonging.

    Throughout his career, Williams received numerous accolades, including an OBE in 1982 and a KBE in 1999 for services to the arts in Wales. The establishment of the Kyffin Williams Drawing Prize in 2009 further cemented his legacy by supporting emerging talent. Today, Oriel Ynys Môn on Anglesey houses a permanent exhibition dedicated to his work, ensuring that future generations can experience the power and beauty of his vision. Sir John Kyffin Williams wasn’t simply a painter; he was Wales' visual poet, a master who captured the soul of a nation with every brushstroke. His paintings continue to inspire awe and appreciation for the enduring spirit of the Welsh landscape and its people—a legacy that will undoubtedly endure for centuries to come.

    Museum

    Llyfrgell Genedlaethol Cymru / The National Library of Wales

    On show in Aberystwyth, United Kingdom

    A Bastion of Welsh Identity

    Nestled in the charming university town of Aberystwyth, overlooking the breathtaking expanse of Cardigan Bay, stands a monument not merely to literature and art, but to the very soul of Wales.

    Llyfrgell Genedlaethol Cymru / The National Library of Wales

    is far more than just a repository of books; it is a vibrant, living archive dedicated to preserving and celebrating the rich tapestry of Welsh culture, history, and language. Established by Royal Charter, this institution was born from a passionate desire to safeguard national identity, fueled by both governmental support and remarkable contributions from the working classes of Wales. It serves as a beacon for scholarship and research, acting as the nation's memory keeper through its legal deposit status, ensuring that every publication produced in Wales finds a home within its hallowed walls.

    Stepping into the Library is akin to embarking on a journey through time, where the architecture itself tells a story of harmony and transition. The building, a completed masterpiece of 1937, reflects a thoughtful blend of classical and modern elements designed by Sidney Greenslade, with later additions by Charles Holden. Its striking facade, featuring contrasting Portland stone on the upper stories and Cornish granite below, creates a visually compelling presence that commands respect. For the interior designer, the interplay of stone, light, and space within this structure offers a masterclass in dignified, monumental aesthetics. The North Reading Room, bathed in a soft, natural light, remains a sacred space for contemplation, designed specifically to foster creativity and inspire profound thought among researchers.

    Treasures of the Welsh Spirit

    For the art enthusiast and collector, the Library’s collections offer an unparalleled window into the Welsh spirit. While the heart of the institution lies in its millions of books and periodicals, its visual treasures are equally profound. The collection features significant paintings, topographical prints, and portraits that capture the essence of the nation. Art lovers will find particular resonance in the works of

    Kyffin Williams

    and

    Donald McIntyre

    , whose masterful depictions of the Snowdonia National Park and Cardigan Bay landscapes serve as both aesthetic triumphs and vital visual records of Wales’ evolving environment. These works, characterized by their sensitivity to light and texture, provide a profound connection to the rugged beauty of the Welsh terrain.

    The Library's unique character is further enriched by its diverse holdings, which include:

    The Peniarth Collection:

    A world-renowned assembly of medieval manuscripts that serves as a cornerstone of Celtic history.

    National Screen and Sound Archive:

    An immersive collection that brings Welsh heritage to life through film and sound recordings.

    Visual Archives:

    A comprehensive collection of maps, photographic images, and portraits that document the evolution of the Welsh landscape and people.

    Beyond its permanent holdings, the Library thrives as a dynamic cultural centre, constantly evolving through engaging exhibitions that bridge the gap between the ancient and the contemporary. From exploring the mysteries of Celtic mythology to celebrating the nuances of modern Welsh art history, these curated displays attract visitors from across Europe and beyond. It remains a place where the echoes of the past meet the innovations of the 21st century in a seamless, beautiful dialogue.

    Where to read more

    Find this online

    QR code linking to the download page for Golfer Resting

    originaluniqueart.com/en/art/download/john-kyffin-williams-golfer-resting-AQS77P-en/

    Cite this artwork

    MLA
    Williams, John Kyffin. Golfer Resting. 1950, Llyfrgell Genedlaethol Cymru / The National Library of Wales. https://originaluniqueart.com/en/art/john-kyffin-williams-golfer-resting-AQS77P-en/
    APA
    Williams, John Kyffin (1950). Golfer Resting [Painting]. Llyfrgell Genedlaethol Cymru / The National Library of Wales. https://originaluniqueart.com/en/art/john-kyffin-williams-golfer-resting-AQS77P-en/
    Chicago
    John Kyffin Williams. Golfer Resting. 1950. Llyfrgell Genedlaethol Cymru / The National Library of Wales. https://originaluniqueart.com/en/art/john-kyffin-williams-golfer-resting-AQS77P-en/
    Harvard
    Williams, John Kyffin (1950) Golfer Resting. Llyfrgell Genedlaethol Cymru / The National Library of Wales. Available at: https://originaluniqueart.com/en/art/john-kyffin-williams-golfer-resting-AQS77P-en/

    Look closely

    Golfer Resting — John Kyffin Williams

    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. Our catalogue files this work under: welsh landscape, golf course, rural scene. Do you agree? What would you add, or take away?
    4. Look back at Chapel at Dinorwic (2000), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Romantic Landscape: Art that puts feeling, wildness and the power of nature above calm order and rules. Where can you see that in this work?

    Your response

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

    Art quiz

    Golfer Resting — John Kyffin Williams

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is John Kyffin Williams primarily associated with?

      • A Cubism
      • B Impressionism
      • C Post-Impressionism
    2. 2. The painting depicts a scene featuring what prominent element?

      • A A bustling cityscape
      • B A grand ballroom
      • C A tranquil landscape
    3. 3. What technique is John Kyffin Williams known for utilizing in his artwork?

      • A Watercolor blending
      • B Detailed pencil shading
      • C Bold impasto
    4. 4. Where was John Kyffin Williams born?

      • A Paris
      • B London
      • C Llangefni
    5. 5. What is the predominant color palette used in ‘Golfer Resting’?

      • A Bright reds and yellows
      • B Pale blues and greens
      • C Warm browns and ochres

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2C · 3C · 4C · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Is "Golfer Resting" held in the country of its creator?

    Yes - the artwork is kept in the artist's home country. The birth country of John Kyffin Williams is United Kingdom, and the museum holding the original of "Golfer Resting" is in United Kingdom.

    Why is the copyright status of "Golfer Resting" what it is?

    "Golfer Resting" by John Kyffin Williams is still protected by copyright. Copyright duration runs from the artist's death, which occurred in 2006.

    Where does "Golfer Resting" fall in John Kyffin Williams's career?

    "Golfer Resting" represents the Mature Period of John Kyffin Williams.