Paper

Student Artwork Guide

Mare and Foal

Name Class Date

Robert Polhill Bevan, Mare and Foal (1917). Public domain.

The facts

Artist
Robert Polhill Bevan originaluniqueart.com/en/artists/robert-polhill-bevan/
Artist’s dates
1865 – 1925
Painted
1917
Medium
Oil On Canvas
Original size
56 x 66 cm
Movement
Post-Impressionism Artists who kept the bright colour of Impressionism but pushed shape and feeling further than the eye really sees.
Period
Modern
Artistic style
British Modernism
Influences
Pablo Picasso, Ilya Yefimovich Repin
Notable elements or techniques
Bold brushstrokes, vivid colors
Subject or theme
Mother horse and foal in nature

In context

Mare and Foal — Robert Polhill Bevan

How big is it?

The original measures 56 × 66 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1860
  2. 1870
  3. 1880
  4. 1890
  5. 1900
  6. 1910
  7. 1920

Shaded: the lifetime of Robert Polhill Bevan (1865–1925) ▲ this work, 1917

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/robert-polhill-bevan-mare-and-foal-8YDF96-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #dca76f

    Catalogued palette

    • #DCA76F
    • #1C7E74
    • #231D29
    • #8F401F
    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Rosy Brown
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle 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
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Mare and Foal — Robert Polhill Bevan

    A Tender Encounter in Color and Light

    In the quietude of 1917, amidst a world often defined by upheaval, Robert Polhill Bevan captured a moment of profound stillness and maternal grace in his masterpiece, Mare and Foal. This exquisite oil on canvas serves as more than just a pastoral scene; it is an intimate window into the heartbeat of the natural world. The composition centers on the tender bond between a mother horse and her young offspring, positioned with a delicate proximity that suggests a shared breath. As the foal nuzzles against its mother, the viewer is drawn into a sanctuary of peace, where the boundaries between animal and environment seem to dissolve into a singular, harmonious existence.

    The painting’s strength lies in its ability to evoke emotion through the masterful application of color and texture. Bevan, a pioneer of British Modernism, moves beyond mere representation to embrace a more expressive language. His use of bold brushstrokes lends a rhythmic vitality to the grass and the sturdy forms of the horses, while his palette—rich with vivid, sun-drenched tones—breathes life into the landscape. The three trees rising in the background do not merely provide depth; they act as silent sentinels, framing the central figures and grounding the scene in a sense of timelessness and permanence.

    The Mastery of Modernist Technique

    To observe Mare and Foal is to witness the intersection of Impressionist light and the burgeoning energy of early 20th-century modernism. Bevan’s technique, honed during his transformative years in Paris, allows him to manipulate the medium of oil on canvas to achieve a remarkable level of luminosity. The way light dances across the coats of the horses and filters through the surrounding greenery demonstrates a sophisticated understanding of shadow and atmosphere. This interplay of light creates a tactile quality, where one can almost feel the softness of the foal's coat and the sturdy weight of the mare.

    For the discerning collector or interior designer, this piece offers a rare balance of structural strength and emotional warmth. The painting’s composition is balanced yet dynamic, making it an ideal focal point for spaces that require a sense of calm sophistication. Unlike more chaotic modern works, Bevan’s approach in this period retains a classical reverence for subject matter while utilizing a contemporary, expressive hand. It is a work that invites the eye to linger, rewarding repeated viewings with new discoveries of color nuance and textural depth.

    A Timeless Legacy for the Modern Interior

    Beyond its aesthetic brilliance, Mare and Foal carries a symbolic weight that resonates across generations. The theme of maternal protection and the innocence of youth are universal, making the artwork deeply relatable to any viewer. In an era where art is often used to define the character of a home, this reproduction offers an infusion of serenity and organic beauty. It brings the restorative power of nature indoors, acting as a bridge between the wild, untamed world and the curated elegance of a contemporary living space.

    Whether placed in a sunlit gallery or a quiet study, the painting serves as a testament to the enduring power of the natural bond. It stands alongside the works of great innovators like Picasso and Repin, not merely as a depiction of animals, but as an exploration of life's most fundamental rhythms. For those seeking to invest in art that inspires contemplation and provides a sense of groundedness, Bevan’s 1917 triumph remains an incomparable choice—a soulful fragment of history captured in vibrant, everlasting oil.

    Artist and museum

    Artist

    Robert Polhill Bevan

    Born in Hove, United Kingdom

    A Pioneer of British Modernism: The Life and Art of Robert Polhill Bevan

    Robert Polhill Bevan, born in Hove in 1865, occupies a pivotal yet often understated position within the narrative of early 20th-century British art. Emerging from a Quaker background steeped in banking connections – his parents were Richard Alexander Bevan and Laura Maria Polhill – he defied conventional expectations to become a daring innovator, a key figure in the transition from Impressionism towards more radical explorations of color and form. His journey was one of constant experimentation, absorbing influences from across Europe while forging a distinctly personal artistic vision that would profoundly impact the development of modern art in Britain. Bevan’s early education at Westminster School of Art under Fred Brown provided a solid foundation, but it was his subsequent studies at the Académie Julian in Paris that truly ignited his creative spark. There, he encountered a constellation of rising stars – Paul Sérusier, Pierre Bonnard, Édouard Vuillard, and Maurice Denis – artists who were challenging academic conventions and embracing new approaches to painting. These encounters proved formative, exposing Bevan to the principles of synthetism and laying the groundwork for his future explorations.

    Brittany, Fauvism, and the Search for Pure Color

    The impact of Brittany on Bevan’s artistic development cannot be overstated. Two significant journeys in 1890 and 1891 immersed him in the atmosphere of Pont-Aven, a small coastal town that had become a magnet for artists seeking an alternative to Parisian salon culture. The bold colors and simplified forms championed by artists like Gauguin resonated deeply with Bevan, influencing his early drawings and prints. However, it was around 1904 that Bevan truly began to distinguish himself, embarking on a path of experimentation with pure color that anticipated the emergence of Fauvism on the continent. His painting “Courtyard” stands as a remarkable example of this proto-Fauvist approach, demonstrating a willingness to abandon naturalistic representation in favor of expressive chromatic intensity – a boldness that set him apart from many of his British contemporaries. This exploration didn’t remain static; Bevan subsequently adopted a divisionist or pointillist technique, evident in works like “Ploughing on the Downs” and “The Turn-Rice Plough,” showcasing his commitment to exploring different methods of applying color and capturing light. Throughout this period, the influence of masters such as Velázquez and Goya remained palpable, alongside more immediate guidance from Renoir regarding the depiction of horses – a testament to Bevan’s broad artistic curiosity and willingness to learn from diverse sources.

    Collective Visions: The Camden Town Group and Beyond

    Bevan was not an artist who worked in isolation. He actively sought connection with like-minded individuals, playing a crucial role in the formation of several influential art groups. As a founding member of the Camden Town Group, he joined forces with artists determined to depict modern urban life and challenge established artistic norms. This collective spirit extended to his involvement with the London Group and the Cumberland Market Group, further demonstrating his commitment to progressive artistic movements. A particularly significant relationship was forged in 1908 when Bevan joined Walter Sickert’s Fitzroy Street group. Sickert's encouragement to focus on everyday subjects proved invaluable, steering Bevan towards a more grounded and socially engaged approach to art. The first Allied Artists’ Association exhibition in 1908 provided another important platform for Bevan, introducing him to the burgeoning world of international modernism – most notably, through his encounter with Wassily Kandinsky. These affiliations were not merely social; they fostered a dynamic exchange of ideas that shaped Bevan's artistic trajectory and contributed to the broader evolution of British art.

    Landscapes, Urban Scenes, and Lasting Legacy

    While Bevan’s subject matter was diverse, encompassing portraits – including notable depictions of his wife, Stanislawa de Karłowska – and urban scenes documenting the decline of the horse cab trade (“The Cab Horse”), he is perhaps best known for his landscapes. His paintings of Sussex and Brittany are imbued with a vibrant energy, capturing the essence of rural life through expressive brushwork and bold color palettes. Works like “In the Downs near Lewes,” “The Chestnut Tree,” and “Landscape in the Blackdown Hills, Devon” exemplify this mastery, showcasing his ability to convey both the physical beauty and emotional resonance of the natural world. Robert Polhill Bevan’s legacy extends far beyond his individual paintings. He is rightfully recognized as a pioneer of modern British art, particularly for his early adoption of Fauvist principles and his fearless experimentation with color. His influence on subsequent generations of painters is undeniable, and his contribution to the Camden Town Group was instrumental in shaping the development of modern art in Britain. A retrospective exhibition at Colnaghi’s in 1961 served as a crucial moment of recognition, solidifying his place in art history and ensuring that his innovative spirit continues to inspire artists today. He remains a vital figure for understanding the complex evolution of British painting in the early twentieth century.

    Where to read more

    Find this online

    QR code linking to the download page for Mare and Foal

    originaluniqueart.com/en/art/download/robert-polhill-bevan-mare-and-foal-8YDF96-en/

    Cite this artwork

    MLA
    Bevan, Robert Polhill. Mare and Foal. 1917, https://originaluniqueart.com/en/art/robert-polhill-bevan-mare-and-foal-8YDF96-en/
    APA
    Bevan, Robert Polhill (1917). Mare and Foal [Painting]. https://originaluniqueart.com/en/art/robert-polhill-bevan-mare-and-foal-8YDF96-en/
    Chicago
    Robert Polhill Bevan. Mare and Foal. 1917. https://originaluniqueart.com/en/art/robert-polhill-bevan-mare-and-foal-8YDF96-en/
    Harvard
    Bevan, Robert Polhill (1917) Mare and Foal. Available at: https://originaluniqueart.com/en/art/robert-polhill-bevan-mare-and-foal-8YDF96-en/

    Look closely

    Mare and Foal — Robert Polhill Bevan

    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: horse, foal, nature. Do you agree? What would you add, or take away?
    4. Look back at The Chestnut Tree (1916), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Post-Impressionism: Artists who kept the bright colour of Impressionism but pushed shape and feeling further than the eye really sees. 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.