Paper

Student Artwork Guide

The Trial

John Samuel Tunnard, 1944

Name Class Date
John Samuel Tunnard, The Trial (1944), British Council. 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 Samuel Tunnard originaluniqueart.com/en/artists/john-samuel-tunnard/
Artist’s dates
1900 – 1971
Painted
1944
Medium
Oil On Canvas
Original size
550 x 370 cm
Movement
English Surrealism
Held at
British Council originaluniqueart.com/en/museums/british-council-london/
Artistic style
Modernist
Influences
Marine life"; "Jazz music"; "Fabric design
Notable elements or techniques
Perspective play; Void motifs; Ochre-yellow figure.
Subject or theme
Psychological exploration; Dreamscape.

Copyright This work is still under copyright. John Samuel Tunnard died in 1971; copyright lasts 70 years after the artist’s death, so it remains in force until 2041. The image is shown here for classroom reference; rights remain with the rights holder.

Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

The Trial — John Samuel Tunnard Part 1 · The artwork

In context

The Trial — John Samuel Tunnard

How big is it?

The original measures 550 × 370 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 71 at death.

Painted when the artist was 44. The artist lived to 71. 0 of the 1 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of John Samuel Tunnard (1900–1971) ▲ this work, 1944 every dated painting, decade by decade

Colours

Measured from the image

    Main colour

    Phthalo Green #261e28

    Catalogued palette

    • #261E28
    • #554351
    • #DAD5CF
    • #8D7878

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

    Main colour name
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony 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
    Muted 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 Samuel Tunnard over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%

    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 1 most looked-at works by John Samuel Tunnard

    1. 1 The Trial, 1944 this painting 100.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 1 works by this artist, of which 1 were looked at at least once. This painting ranks 1 of them, with 100.0% 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.

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    The Trial — John Samuel Tunnard Part 2 · In context

    About this artwork

    The Trial — John Samuel Tunnard

    After studying textile design at the Royal College of Art, John Tunnard began his career as a designer and fabric-buyer for John Lewis in London. In the 1930’s, he moved with his wife to Cornwall, establishing a silk block-printing business. It was while he was in Cornwall that Tunnard turned towards painting. Identified as an English Surrealist, his paintings were shown alongside Yves Tanguy, Paul Nash, Graham Sutherland and John Piper. He was widely regarded and exhibited during his life, with an early career exhibition at Peggy Guggenheim’s ‘Guggenheim Jeune’ gallery in London, (open between 1938-9). He would produce two major works for the 1951 Festival of Britain – a painting, The Return (1951) and a mural for the Regatta Restaurant. Influences on his work include Modern fabric design, an interest in marine life, free-association music (Tunnard was a keen jazz player), and the natural world, (he also collected rare insects for the Natural History Museum while it was still a part of the British Museum).A play on perspective gives this painting its macabre ‘down the rabbit hole’ ambience. This painting leads its viewer into a world of multiple planes, lines and voids. Peering into its visual machine, one’s investigations are quickly interrupted by a disappearing line, or a strike that crosses one’s view or bends one’s vision along a new route. The viewer’s eye experiences a kind of paroxysm while looking at this painting. A darting effect is produced that leaves us confused as to the ‘real’ nature of the pattern itself. Whatever was first understood becomes distorted and we are left with such questions as: where is the front? where is at the back? what indeed, is happening here?A number of motifs within this work are common across Tunnard’s practice at this time. The ochre-yellow figure to the right recurs in the work Ghost painted in the same year, and the sharp base-point of tentatively poised shapes are present in other paintings at this time. Voids, doorways, red colour accents, white scores across the composition and generally a dark, nocturnal palate, are all present throughout a body of work that Tunnard painted across the final years of the Second World War.A conscientious objector, Tunnard spent most of the war as a coastguard on the Cornish coast. In this role, his regular view would have been towards occupied France and across an embattled mass of sky and sea. An active stage of war, this coastal strip was the southernmost ‘front’ of Great Britain. A distorted political space, The Channel, much like this painting, was ideologically abstracted by opposing forces that brawled across it.The sea meets the sky in this painting, which recasts an agitated and sombre character of war. As a critic of The Times was to later write about Tunnard’s work during this period, his:‘imagery seems to spring directly from the war, from a time when deserted airships beneath the moon and skies scored with the smoke-trails of aerial battles brought a sudden anticipatory glimpse of the space-age. Mr Tunnard’s obsession with the dynamics of flight, and his visions of an upper ether patterned and articulated by them were never… documentary records, but more like romantic pictorial science-fiction.’ © Gemma Sharp 20101. Imagery derived from War. Mr John Tunnard’s Paintings’. The Times, 7th December 1959. p14.

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    The Trial — John Samuel Tunnard Part 3 · About this artwork

    Artist and museum

    Artist

    John Samuel Tunnard

    Born in Sandwich, United Kingdom

    John Samuel Tunnard: A Life in Modern British Art

    Early Life and Education

    John Samuel Tunnard (1900-1971) was an English modernist painter and designer. Born in Sandwich, Kent, he initially studied design at the Royal College of Art from 1919 to 1923. This foundational training would prove crucial throughout his artistic career, influencing both his painting style and his later ventures into textile design.

    Early Career & Textile Design

    During the 1920s, Tunnard worked in various textile design roles in Manchester. This period provided him with practical experience and an understanding of pattern, color, and form – elements that would later become prominent features of his paintings. In 1926, he married Mary May Robertson, a partnership that would significantly shape both their personal and professional lives.

    Artistic Development & Influences

    By 1928, Tunnard began to focus seriously on painting. He taught design at the Central School of Arts and Crafts in London from 1929 onwards, further solidifying his engagement with artistic principles and pedagogy. His work during this time demonstrates a growing interest in modernist aesthetics. Tunnard’s style was notably influenced by Surrealism, although he never formally joined the movement. He participated in several surrealist exhibitions throughout the 1930s, including one at the Gordon Fraser Gallery in Cambridge.

    Cornwall and a New Artistic Direction

    In 1933, Tunnard and his wife moved to Cadgwith, Cornwall. There, they established a business producing printed silks, allowing them to combine their artistic talents with entrepreneurial endeavors. The Cornish landscape profoundly impacted Tunnard’s art, inspiring many of his later landscapes and providing a new source of visual motifs.

    Major Works & Artistic Style

    Tunnard's oeuvre encompasses both paintings – including notable landscapes and portraits – and textile designs. His painting style is characterized by its lyrical abstraction, dreamlike qualities, and vibrant color palettes. He often blended representational elements with abstract forms, creating a unique visual language that reflects his surrealist leanings.

    His landscapes frequently depict the Cornish coastline, rendered in bold colors and fluid shapes.

    His portraits explore psychological depth through expressive brushwork and unconventional compositions.

    His textile designs showcase innovative patterns and color combinations, demonstrating his versatility as an artist.

    Exhibitions & Recognition

    Tunnard exhibited widely throughout his career. He showed work at the Royal Academy and with the London Group (which he joined in 1934). His participation in surrealist exhibitions further cemented his position within the British avant-garde.

    Legacy & Historical Significance

    John Samuel Tunnard is now considered one of the most important English modernist painters. His work represents a unique synthesis of Surrealism, abstraction, and landscape painting. Examples of his art can be found in prominent collections such as the National Galleries of Scotland. He contributed significantly to the development of modern British art, bridging the gap between traditional representation and abstract expression.

    Museum

    British Council

    On show in London, United Kingdom

    A Living Dialogue: The British Council Collection

    The British Council Collection is far more than a mere repository of objects; it is a breathing, global narrative that seeks to bridge the distance between cultures through the universal language of art. Established in 1934 during an era of profound geopolitical instability, the collection was born from a visionary belief that aesthetic dialogue could serve as an antidote to ideological conflict. What began as a mission to foster international relations has evolved into one of the most significant itinerant treasures of contemporary British art. Unlike traditional institutions that remain anchored to a single city, this collection exists in a state of constant motion, traveling across borders to spark empathy and understanding, ensuring that the pulse of British creativity is felt in far-reaching corners of the globe.

    At the heart of this collection lies a profound mastery of form and emotion, featuring works by luminaries who have fundamentally reshaped the landscape of modern art. To wander through its curated selections is to encounter the raw, psychological intensity of

    Lucian Freud

    , whose portraits strip away pretension to reveal the vulnerable, fleshy reality of the human condition. In stark contrast, one finds the vibrant, expansive landscapes of

    David Hockney

    , where color and perspective dance together to create iconic symbols of British visual identity. These works do not merely sit on walls; they demand engagement, inviting viewers to contemplate the complexities of identity, memory, and the very essence of sight.

    Architectural Serenity and Social Purpose

    The physical presence of the collection is equally evocative, particularly when experienced within its architectural context in Stratford, London. Housed in a structure designed by

    Sauerbruch Atkins Architects

    , the space serves as a masterclass in minimalist design. The architecture prioritizes an abundance of natural light and a sense of spatial openness, creating a serene sanctuary that complements the artworks it holds. This deliberate transparency allows the environment to dissolve, leaving the observer alone with the canvas, fostering a state of deep contemplation and immersion that is essential for truly absorbing contemporary masterpieces.

    What distinguishes the British Council Collection from its peers is its unwavering commitment to social relevance and accessibility. Its recent exhibitions have never shied away from the pressing shadows of our time, tackling themes such as migration, environmental sustainability, and social justice with intellectual rigor. By offering free admission to many of its exhibitions, the institution democratizes the experience of high art, ensuring that beauty and critical discourse are available to all, regardless of background. For the collector or the interior designer, the collection represents a gold standard of cultural prestige—a testament to an enduring legacy that continues to transform the way we see the world.

    Where to read more

    Find this online

    QR code linking to the download page for The Trial

    originaluniqueart.com/en/art/download/john-samuel-tunnard-the-trial-D4Q8LL-en/

    Cite this artwork

    MLA
    Tunnard, John Samuel. The Trial. 1944, British Council. https://originaluniqueart.com/en/art/john-samuel-tunnard-the-trial-D4Q8LL-en/
    APA
    Tunnard, John Samuel (1944). The Trial [Painting]. British Council. https://originaluniqueart.com/en/art/john-samuel-tunnard-the-trial-D4Q8LL-en/
    Chicago
    John Samuel Tunnard. The Trial. 1944. British Council. https://originaluniqueart.com/en/art/john-samuel-tunnard-the-trial-D4Q8LL-en/
    Harvard
    Tunnard, John Samuel (1944) The Trial. British Council. Available at: https://originaluniqueart.com/en/art/john-samuel-tunnard-the-trial-D4Q8LL-en/

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    The Trial — John Samuel Tunnard Part 4 · Artist and museum

    Look closely

    The Trial — John Samuel Tunnard

    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: cornwall, landscape, marine life. Do you agree? What would you add, or take away?
    4. John Samuel Tunnard was about 44 when this was made. What in it looks like the work of an artist at that stage?
    5. Themes that come back through the work of John Samuel Tunnard: modern fabric design, jazz player inspiration, british surrealist vision. Which of them do you see here?

    Your response

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

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    The Trial — John Samuel Tunnard Part 5 · Look closely

    Art quiz

    The Trial — John Samuel Tunnard

    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 Tunnard’s painting ‘The Trial’ primarily associated with?

      • A Cubism
      • B Impressionism
      • C Surrealism

    2. 2. Where was John Tunnard's early career exhibition showcasing his work held?

      • A The British Museum
      • B Peggy Guggenheim’s ‘Guggenheim Jeune’ gallery
      • C Royal Academy

    3. 3. What is a prominent motif within Tunnard's painting 'The Trial', reflecting his broader artistic interests?

      • A Marine life
      • B Geometric patterns
      • C Religious iconography

    4. 4. Which influential figure inspired Tunnard’s exploration of perspective and its impact on conveying mood in ‘The Trial’?

      • A Pablo Picasso
      • B Leonardo da Vinci
      • C Ruskin

    5. 5. What was John Tunnard's role during World War II, contributing to his artistic inspiration?

      • A Military strategist
      • B Coastal patrol officer
      • C Diplomatic envoy

    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 · 2B · 3A · 4C · 5B

    Check any answer against the catalogue record for this painting

    Source: OriginalUniqueArt.com — accessed Sept. 27, 2026

    The Trial — John Samuel Tunnard Part 6 · Art quiz

    Questions & Answers

    What is "The Trial" made with, and in which style?

    "The Trial" by John Samuel Tunnard combines the oil on canvas technique with the English Surrealism style. Technique and movement describe the making and the style of the work.

    What other names is John Samuel Tunnard known by?

    John Samuel Tunnard appears under the alternate names Tunnard.

    Which artistic current is "The Trial" by John Samuel Tunnard part of?

    The movement associated with "The Trial" by John Samuel Tunnard is English Surrealism. This classification situates the work among related artists and artworks.