Student Artwork Guide
Copyright This work is in the public domain. Susan Isabel Dacre died in 1933; copyright lasts 70 years after the artist’s death, so it ended in 2003.
In context
Swans — Susan Isabel Dacre
The original measures 31 × 41 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 89 at death.
Shaded: the lifetime of Susan Isabel Dacre (1844–1933) every dated painting, decade by decade
First works: up to 1880 Main working years: 1880–1908 Late works: from 1908
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
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/susan-isabel-dacre-swans-AQSHUX-en/
Measured from the image
Main colour
Espresso #48473b
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 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 30 works by this artist, of which 8 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
Born in Leamington Spa, United Kingdom
Susan Isabel Dacre, born in 1844 amidst the burgeoning Victorian era, was more than just a painter; she was a testament to the quiet revolution unfolding within British society. Her life, stretching into the early decades of the 20th century, mirrored the shifting landscapes of artistic expression and the fervent struggle for women’s rights. Born in Leamington Spa, Dacre's path wasn’t one of immediate privilege or established patronage. Instead, it was forged through observation, dedicated practice, and a determined spirit that refused to be confined by societal expectations. Early years spent moving between convent schooling and governess positions – even witnessing the turmoil of the Franco-Prussian War firsthand during a period in Paris – instilled within her a keen awareness of the world’s complexities, an understanding that would later permeate her art. This early exposure to different cultures and political climates undoubtedly shaped her perspective, fostering both a sensitivity to human emotion and a commitment to social justice.
Dacre's artistic journey began in earnest upon returning to England in 1871, enrolling at the Manchester School of Art where she quickly distinguished herself, winning the prestigious Queen’s Prize in 1875. This marked a turning point, solidifying her commitment to painting as a profession – a bold move for a woman during that period. Her style evolved from meticulous realism, characteristic of much Victorian art, towards a more nuanced approach incorporating subtle romanticism and an emerging sensitivity to light and color. While pinpointing specific artistic influences proves challenging due to limited documentation, it’s clear her work resonated with the prevailing realist tendencies of the time. However, hints of Impressionistic sensibilities – particularly in her landscape paintings – suggest an openness to contemporary movements unfolding across the Channel. The influence of Lord Leighton is also noteworthy; he provided guidance and observations on painting techniques during a stay in Capri, demonstrating a willingness from established male artists to mentor emerging female talent. Dacre’s portraits, however, remained central to her practice, allowing her to explore character and individuality with remarkable depth.
Dacre's oeuvre is remarkably diverse, encompassing evocative landscapes, intimate genre scenes, and compelling portraits. Italian Women in Church, a poignant depiction of female figures within a religious setting, exemplifies her ability to capture emotional resonance through subtle gestures and atmospheric composition. Her fascination with Italy is further revealed in works like Assisi from Perugia and Assisi from the City Walls, where she masterfully conveys the beauty and tranquility of the Italian countryside using soft brushstrokes and muted tones. Perhaps one of her most tender pieces, The Artist’s Mother, showcases her skill in portraying familial bonds with sensitivity and grace. Recurring themes throughout her work include a celebration of female strength and individuality – often evident in her portraits – alongside an enduring appreciation for the beauty of nature and glimpses into everyday Victorian life. These weren't merely aesthetic choices; they were reflections of her own values and beliefs, subtly challenging conventional representations of women and society.
Susan Isabel Dacre’s legacy extends far beyond the canvas. She was a dedicated activist who actively championed both artistic opportunities for women and the broader cause of suffrage. In 1876, alongside Annie Louise Swynnerton, she co-founded the Manchester Society of Women Artists, providing a crucial platform for female artists to exhibit their work and network with peers – a space that was sorely lacking at the time. She served as president of this vital organization, demonstrating her leadership and commitment to fostering a supportive community. Her activism didn’t stop there; Dacre was also a member of the executive committee of the Manchester National Society for Women's Suffrage for a decade (1885-95), tirelessly advocating for women’s right to vote. After years of campaigning, she successfully became a member of the council of the Manchester Academy of Fine Arts in 1897, breaking down barriers and paving the way for future generations of female artists to gain recognition within established institutions.
Susan Isabel Dacre passed away in 1933, leaving behind a body of work that continues to resonate with viewers today. Her significance lies not only in her artistic contributions – the evocative landscapes, compelling portraits, and sensitive genre scenes – but also in her unwavering commitment to social justice. She challenged societal norms, defied expectations, and actively worked to create opportunities for women in both the art world and beyond. Dacre’s life serves as a powerful reminder of the importance of perseverance, artistic vision, and the courage to fight for what one believes in. Her paintings offer valuable insights into Victorian society, gender roles, and the burgeoning feminist movement, making her work not just aesthetically pleasing but historically significant. She was a pioneer who helped shape a more inclusive and equitable future for women artists, ensuring that their voices would be heard and their talents celebrated.
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Look closely
Swans — Susan Isabel Dacre
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 preview of "Swans" by Susan Isabel Dacre is available on the artwork's Preview page.
The luminance recorded for "Swans" by Susan Isabel Dacre is soft shadow.
"Swans" is available as a high-resolution digital image download, purchased directly on its Digital Image page.