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Student Artwork Guide

The Gloaming I

Name Class Date

June Redfern, The Gloaming I (1999). 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
June Redfern originaluniqueart.com/en/artists/june-redfern/
Artist’s dates
1951 –
Painted
1999
Original size
61 x 69 cm

In context

The Gloaming I — June Redfern

How big is it?

The original measures 61 × 69 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1950
  2. 1960
  3. 1970
  4. 1980
  5. 1990

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

Painted when the artist was 48. 3 of the 4 dated works by this artist in our catalogue came earlier.

▲ this work, 1999 every dated painting, decade by decade

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/june-redfern-the-gloaming-i-AR2CYE-en/

Colours

Measured from the image

    Main colour

    Khaki #d7c391

    Catalogued palette

    • #D7C391
    • #31271F
    • #B58B48
    • #6E5032

    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
    Khaki
    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
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft 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 June Redfern over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%200 visits

    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 2 most looked-at works by June Redfern

    1. 1 From Two Paths, 1994 100.0%200 visits
    2. — The Gloaming I, 1999 this painting 0.0%0 visits

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 11 works by this artist, of which 1 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

    June Redfern

    June Redfern: A Landscape of Emotion

    Born in Fife, Scotland, in 1951, June Redfern’s artistic journey is one deeply rooted in both traditional academic training and a fiercely expressive, almost visceral approach to landscape painting. Her early years at Edinburgh College of Art provided her with a solid foundation – an understanding of perspective, anatomy, and the technical mastery required for oil and watercolour. However, it was a deliberate rejection of rigid formalism that truly defined her artistic voice, leading her to explore the emotional resonance of place and subject matter rather than simply replicating visual reality.

    Redfern’s work is immediately recognizable by its scale – often monumental canvases that invite viewers into the heart of the scene. This ambition isn't merely about size; it’s a reflection of her desire to capture atmosphere, mood, and the intangible qualities of a landscape. Her early paintings frequently featured female figures, rendered with a striking intensity and vulnerability, suggesting a personal connection to themes of identity, memory, and the human condition. These figures weren’t simply portraits but embodiments of emotional states – longing, contemplation, and perhaps even a touch of melancholy.

    The Influence of Expressionism

    While her academic training provided a crucial starting point, Redfern's artistic development was profoundly shaped by the burgeoning movement of expressionism. Artists like Van Gogh, Gauguin, and particularly the German Expressionists – Kirchner, Heckel, Nolde – offered a model for conveying subjective experience through colour and form. Redfern embraced this approach wholeheartedly, utilizing bold, often clashing colours to evoke specific emotions and sensations. Her palette isn’t descriptive; it's deliberately charged with symbolic meaning, reflecting the inner landscape of her subjects.

    The influence is particularly evident in her later work, where she abandons more representational forms for a looser, more gestural style. She employs thick impasto – building up layers of paint to create texture and depth – and allows colour to bleed and mingle, creating a sense of movement and dynamism. This technique isn’t simply decorative; it's integral to her exploration of atmosphere and the fleeting nature of perception.

    A Shift Towards Landscape

    As Redfern’s career progressed, her focus gradually shifted towards landscape painting. However, this wasn’t a departure from her previous concerns but rather an evolution – a way of translating her emotional vocabulary onto a broader canvas. She began to explore the wilder, more remote corners of Scotland, capturing the rugged beauty of its coastline, moorlands, and forests. These landscapes aren't idyllic vistas; they are imbued with a sense of solitude, mystery, and even foreboding.

    Her approach is deeply observational, yet profoundly subjective. She’s not simply recording what she sees but interpreting it through the lens of her own emotional experience. The light in her paintings isn't neutral; it’s often dramatic and theatrical, casting long shadows and highlighting textures with a palpable intensity. Her use of colour becomes even more expressive, conveying mood and atmosphere with remarkable subtlety.

    Recognition and Legacy

    June Redfern’s work has been exhibited extensively throughout the UK and Europe, garnering critical acclaim for its emotional power and technical skill. She has held solo exhibitions at prestigious galleries such as The Royal Academy, Deson Herstein Fine Art in Chicago, and The Bohun Gallery in Henley-On-Thames. Her paintings are also included in several important public collections, including the National Galleries of Scotland.

    Beyond her artistic achievements, Redfern’s career represents a significant contribution to contemporary landscape painting. She demonstrated that landscape could be more than just a pretty picture; it could be a vehicle for exploring complex emotions and ideas. Her bold use of colour, expressive brushwork, and willingness to embrace subjective experience have inspired generations of artists. Her legacy lies not only in the beauty of her paintings but also in their profound emotional resonance – a testament to the power of art to connect us to ourselves and to the world around us.

    Where to read more

    • The artist June Redfern originaluniqueart.com/en/artists/june-redfern/
    • Similar works More works to compare originaluniqueart.com/en/art/similar/june-redfern-the-gloaming-i-AR2CYE-en/

    Find this online

    QR code linking to the download page for The Gloaming I

    originaluniqueart.com/en/art/download/june-redfern-the-gloaming-i-AR2CYE-en/

    Cite this artwork

    MLA
    Redfern, June. The Gloaming I. 1999, https://originaluniqueart.com/en/art/june-redfern-the-gloaming-i-AR2CYE-en/
    APA
    Redfern, June (1999). The Gloaming I [Painting]. https://originaluniqueart.com/en/art/june-redfern-the-gloaming-i-AR2CYE-en/
    Chicago
    June Redfern. The Gloaming I. 1999. https://originaluniqueart.com/en/art/june-redfern-the-gloaming-i-AR2CYE-en/
    Harvard
    Redfern, June (1999) The Gloaming I. Available at: https://originaluniqueart.com/en/art/june-redfern-the-gloaming-i-AR2CYE-en/

    Look closely

    The Gloaming I — June Redfern

    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 Composition of People, earlier in this guide. Name two things it shares with this work, and one that is different.
    4. June Redfern was about 48 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    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

    What color leads the composition of "The Gloaming I" by June Redfern?

    The color that stands out most in "The Gloaming I" is khaki (#d7c391). The dominant color is useful when matching an artwork to an interior.

    Are the colors of "The Gloaming I" by June Redfern saturated or muted?

    "The Gloaming I" by June Redfern is recorded with a balanced soft saturation.

    Can I order an oil reproduction of "The Gloaming I"?

    Hand-painted copies of "The Gloaming I" by June Redfern are sold on this website: a hand-painted oil reproduction on linen canvas, ordered from its Hand-Painted Reproduction page.