Student Artwork Guide
Copyright This work is in the public domain. Peter De Wint died in 1849; copyright lasts 70 years after the artist’s death, so it ended in 1919.
In context
A Terrier, Sitting Facing Left — Peter De Wint
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 65 at death.
Shaded: the lifetime of Peter De Wint (1784–1849) every dated painting, decade by decade
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
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/peter-de-wint-a-terrier-sitting-facing-left-9CW7TW-en/
Measured from the image
Main colour
Putty #f2d5b7
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
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.
Together these works take 47.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 216 works by this artist, of which 54 were looked at at least once. This painting ranks 19 of them, with 1.5% 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.
Artist and museum
Born in Stone, United Kingdom
Birth and Family: Peter de Wint was born on January 21, 1784, in Stone, Staffordshire, England. His father was a physician of Dutch descent who had emigrated from New York.
Initial Career Path: Initially destined for the medical profession like his father, De Wint's artistic inclinations led him to London in 1802.
Apprenticeship with John Raphael Smith: He became an apprentice to John Raphael Smith, a mezzotint engraver and portrait painter. This provided foundational skills in drawing and engraving techniques.
Formal Training under John Varley: In 1806, De Wint secured his freedom from the apprenticeship by producing eighteen oil paintings. Subsequently, he studied under John Varley, a prominent watercolorist, who introduced him to Dr. Monro’s informal academy for young artists. This environment fostered exposure to influential figures like Turner and Girtin.
Early Exhibitions: De Wint began exhibiting at the Royal Academy in 1807, quickly gaining recognition for his landscapes.
Membership in Artistic Societies: He became an Associate of the Old Watercolour Society in 1810 and a full member the following year, solidifying his position within the British art scene.
Watercolor Mastery: De Wint is widely regarded as one of the foremost English watercolorists. His ability to capture subtle nuances of light and atmosphere with a limited palette—typically consisting of just ten pigments—is particularly noteworthy. He favored ivory-tinted Creswick paper, contributing to the delicate quality of his works.
Oil Painting: While primarily known for watercolors, De Wint also worked in oils, demonstrating versatility.
Lincolnshire Landscapes: A significant portion of De Wint’s oeuvre features landscapes inspired by his frequent visits to Lincolnshire. These paintings often depict idyllic scenes of haymaking, rural cottages, and expansive views of the countryside, reflecting a deep appreciation for the English landscape.
Genre and Subject Matter: His subjects often reflected a Romantic sensibility, emphasizing emotion, atmosphere, and the beauty of nature. He also produced portraits, including a notable oil painting of John Keats.
Critical Acclaim: Alfred William Rich famously asserted that De Wint “ever came nearer painting a perfect picture than did Peter de Wint,” highlighting his exceptional skill and artistic vision.
Influence on Later Artists: De Wint’s delicate watercolor technique and atmospheric landscapes influenced subsequent generations of British artists, contributing to the development of English landscape painting.
Museum Holdings: His works are held in prestigious collections worldwide, including Tate Britain, the Victoria and Albert Museum, and The Collection (Lincoln), attesting to their enduring artistic merit and historical significance.
Death: He died on January 30, 1849, in London.
originaluniqueart.com/en/art/download/peter-de-wint-a-terrier-sitting-facing-left-9CW7TW-en/
Look closely
A Terrier, Sitting Facing Left — Peter De Wint
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"A Terrier, Sitting Facing Left" by Peter De Wint is in the public domain - its copyright has expired. This status governs how the image of the work may be reproduced.
"A Terrier, Sitting Facing Left" is defined by a neutrals palette led by putty (#f2d5b7).
Hand-painted copies of "A Terrier, Sitting Facing Left" by Peter De Wint are sold on this website: a hand-painted oil reproduction on linen canvas, ordered from this page.
A print of "A Terrier, Sitting Facing Left" by Peter De Wint can be ordered directly on this page: a fine art print on cotton canvas or archival canvas paper.
The color of "A Terrier, Sitting Facing Left" is balanced soft in saturation and vivid in intensity.
The colors in "A Terrier, Sitting Facing Left" by Peter De Wint have a vivid intensity.
The Preview page of "A Terrier, Sitting Facing Left" lets you preview the artwork before ordering.
The AR Preview page of "A Terrier, Sitting Facing Left" by Peter De Wint uses augmented reality to show the artwork in your own space, on a compatible device.