Paper

Student Artwork Guide

The Crucifixion

Name Class Date

William Patrick Roberts, The Crucifixion (1920), Oxford Brookes University. 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
William Patrick Roberts originaluniqueart.com/en/artists/william-patrick-roberts/
Artist’s dates
1895 – 1980
Painted
1920
Original size
75 x 90 cm
Held at
Oxford Brookes University originaluniqueart.com/en/museums/oxford-brookes-university-oxford/

In context

The Crucifixion — William Patrick Roberts

How big is it?

The original measures 75 × 90 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940
  7. 1950
  8. 1960
  9. 1970
  10. 1980

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 85 at death.

Painted when the artist was 25. The artist lived to 85. 5 of the 46 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of William Patrick Roberts (1895–1980) ▲ this work, 1920 every dated painting, decade by decade

First works: up to 1922 Main working years: 1922–1935 Late works: from 1935

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

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/william-patrick-roberts-the-crucifixion-AQULQB-en/

Colours

Measured from the image

    Main colour

    Espresso #644b3d

    Catalogued palette

    • #644B3D
    • #9B9B9B
    • #3E332B
    • #8C6B5C

    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
    Espresso
    Intensity
    Monochromatic 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
    Balanced Harmony 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
    Subtle Color 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 William Patrick Roberts over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 53.3%
    2. 2 United States of America 20.0%
    3. 3 Germany 13.3%
    4. 4 Argentina 6.7%
    5. 5 Italy 6.7%

    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 14 most looked-at works by William Patrick Roberts

    1. 1 Munitions Factory, 1940 17.6%
    2. 2 Les Routiers, 1931 11.8%
    3. 3 The Dentist, 1925 11.8%
    4. 4 The Rhododendron, 1948 5.9%
    5. 5 At the Hippodrome, 1921 5.9%
    6. 6 The Demolition Squad, 1941 5.9%
    7. 7 The Cinema, 1920 5.9%
    8. 8 Kit (Katie Bissett Smith née Knewstub, 1907–2008) 5.9%
    9. 9 The Ballet, 1932 5.9%
    10. 10 The Control Room, 1941 5.9%
    11. 11 Portrait of a Man Lighting a Pipe, 1948 5.9%
    12. 12 Playground (The Gutter), 1934 5.9%
    13. 13 The Char, 1924 5.9%
    14. — The Crucifixion, 1920 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 50 works by this artist, of which 13 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

    William Patrick Roberts

    The Architect of Fragmented Reality: The Life of William Patrick Roberts

    In the turbulent landscape of early twentieth-century British art, few figures navigated the tension between tradition and the avant-garde as uniquely as William Patrick Roberts. Born in London in 1895, Roberts emerged during a period of profound aesthetic upheaval, where the stability of Victorian realism was being dismantled by the rapid pulse of modernity. As an artist often categorized as an English Cubist, he did not merely adopt a style; he forged a visual language that captured the fractured, energetic essence of a world in transition. His journey was one of constant movement, reflecting the very dynamism he sought to portray on canvas.

    Roberts’ formative years were deeply shaped by his time at the Slade School of Fine Art, an institution that provided him with a rigorous foundation even as he began to push against academic constraints. It was here that he encountered the burgeoning influences of Vorticism and Futurism—movements characterized by their obsession with machine-age energy, geometric precision, and the violent beauty of motion. Through his association with the Vorticist circle, particularly under the influence of figures like Wyndham Lewis, Roberts learned to utilize sharp angles and interlocking planes to deconstruct his subjects, transforming ordinary scenes into rhythmic, structural compositions.

    A Vision of Modernity and War

    The evolution of Roberts’ work is inextricably linked to the historical tremors of his era. The experience of war left an indelible mark on his psyche and his palette, leading him to document the industrial grit and human endurance of the period. His paintings often serve as windows into the mechanical heart of the twentieth century, where the boundaries between man and machine begin to blur. In works such as Munitions Factory, one can witness his mastery of the Cubist technique applied to the heavy, rhythmic atmosphere of wartime production, using geometric forms to convey the relentless momentum of industry.

    Beyond the industrial, Roberts possessed a profound ability to find poetic resonance in the everyday. His explorations of human connection and social landscapes are marked by an unflinching honesty. Whether depicting the quiet intimacy of a portrait, such as Sarah, or the bustling, structured chaos of street scenes like Les Routiers, he maintained a commitment to emotional depth. He utilized color not just for descriptive accuracy, but as a symbolic tool to evoke the psychological weight of his subjects, often bathing his compositions in a light that felt both modern and strangely primordial.

    Legacy and Artistic Significance

    The significance of William Patrick Roberts lies in his ability to synthesize the radical abstractions of Continental Europe with a distinctly British sensibility. While he embraced the fractured perspectives of Cubism, he never abandoned the figurative essence that allowed him to communicate the human condition. His work stands as a bridge between the classical traditions of the past and the experimental fervor of the modern age.

    Throughout his long career, which spanned until 1980, Roberts earned prestigious recognition, including frequent exhibitions at the Royal Academy. His ability to capture the "vortex" of modern life ensured that his work remained relevant even as art movements shifted toward total abstraction. Today, he is remembered not just as a follower of a movement, but as a pioneer who helped define the visual identity of a generation caught between the old world and the new.

    Museum

    Oxford Brookes University

    On show in Oxford, United Kingdom

    A Tapestry of Oxford: Exploring the Heart of Brookes University’s Artistic Legacy

    Nestled within the venerable city of Oxford, a place steeped in centuries of academic and cultural heritage, lies Oxford Brookes University's museum – a surprisingly vibrant and deeply rewarding space that transcends the typical institutional display. More than just a repository of artifacts, it’s a carefully curated narrative of the university’s evolution, its artistic sensibilities, and its profound connection to both the local community and the wider world. The building itself, a harmonious blend of modern design and historic brickwork, immediately establishes an intriguing dialogue between past and present – mirroring the very ethos of Brookes University itself. Originally conceived as a technical school, the museum’s journey reflects the university's own transformation into a forward-thinking institution embracing innovation while remaining firmly rooted in tradition.

    Architectural Significance:

    The museum’s design is a key element of its appeal. Built upon the foundations of the former Wheatley campus, it incorporates elements of the original Lady Spencer-Churchill College, retaining echoes of its Victorian grandeur alongside contemporary extensions. Large windows flood the interior with natural light, illuminating the diverse collection and creating an atmosphere that feels both intimate and expansive.

    A Chronicle in Objects:

    The museum’s strength lies not in grand masterpieces but in a meticulously assembled array of objects – from early technical drawings and student artwork to antique furniture, historical photographs, and contemporary installations. Each piece tells a story, offering glimpses into the lives of students, faculty, and alumni who have shaped Brookes' identity.

    The Soul of the Campus: Art as Institutional Memory

    At its core, the museum serves as a powerful tool for understanding Oxford Brookes’s unique history. The university archives are particularly noteworthy, housing an astonishing breadth of materials documenting the institution’s development from its humble beginnings as the Oxford City Technical School in 1891. Examining these documents – student notebooks, early promotional brochures, and correspondence between founders – provides a tangible sense of the challenges and triumphs that have defined Brookes' journey. Beyond the purely historical, however, the museum actively champions contemporary art, showcasing works by emerging artists alongside established names, fostering a dynamic dialogue between past and present artistic expressions.

    Notable Exhibitions:

    The museum regularly hosts thematic exhibitions exploring diverse subjects – from the university’s pioneering work in sustainable design to its contributions to social justice. Recent exhibits have featured student photography collections, celebrating the diversity of Brookes' student body, and installations examining the impact of technology on contemporary life.

    Student Voices:

    A significant focus is given to showcasing student artwork – a testament to Brookes’s commitment to nurturing creativity and providing opportunities for artistic expression. The museum regularly hosts student exhibitions, offering a platform for emerging talent and fostering a vibrant creative community within the university.

    Beyond the Walls: Connections & Community

    What truly distinguishes Oxford Brookes University's museum is its deep integration with the surrounding community. The museum actively engages in outreach programs, hosting workshops, lectures, and family-friendly events that bring art to a wider audience. Its collection isn’t confined to the building; significant pieces are often displayed throughout campus buildings, creating an ongoing dialogue between art and daily life. Furthermore, the museum maintains strong ties with local artists and cultural organizations, fostering collaborations and supporting the creative ecosystem of Oxford.

    Community Engagement:

    The museum regularly hosts public tours, workshops for schools and community groups, and events that celebrate local artistic talent.

    Digital Presence:

    A comprehensive website and social media presence provide access to the collection’s highlights, upcoming exhibitions, and educational resources, extending the museum's reach beyond its physical walls.

    A Legacy in Progress: The Future of Artistic Exploration

    Oxford Brookes University’s museum is more than just a historical archive; it’s a living testament to the university’s commitment to innovation, creativity, and community engagement. As the institution continues to evolve, so too will its collection and exhibitions – reflecting the changing landscape of art and culture while remaining firmly rooted in the rich traditions of Oxford. It's a space that invites visitors to contemplate the past, engage with the present, and imagine the future—a truly unique cultural gem within one of England’s most iconic cities.

    Ongoing Development:

    The museum is continually evolving, with plans for new acquisitions, exhibitions, and educational programs.

    A Hub for Creativity:

    The museum serves as a vital resource for students, faculty, and the wider community, fostering a vibrant creative environment within Oxford Brookes University.

    Where to read more

    Find this online

    QR code linking to the download page for The Crucifixion

    originaluniqueart.com/en/art/download/william-patrick-roberts-the-crucifixion-AQULQB-en/

    Cite this artwork

    MLA
    Roberts, William Patrick. The Crucifixion. 1920, Oxford Brookes University. https://originaluniqueart.com/en/art/william-patrick-roberts-the-crucifixion-AQULQB-en/
    APA
    Roberts, William Patrick (1920). The Crucifixion [Painting]. Oxford Brookes University. https://originaluniqueart.com/en/art/william-patrick-roberts-the-crucifixion-AQULQB-en/
    Chicago
    William Patrick Roberts. The Crucifixion. 1920. Oxford Brookes University. https://originaluniqueart.com/en/art/william-patrick-roberts-the-crucifixion-AQULQB-en/
    Harvard
    Roberts, William Patrick (1920) The Crucifixion. Oxford Brookes University. Available at: https://originaluniqueart.com/en/art/william-patrick-roberts-the-crucifixion-AQULQB-en/

    Look closely

    The Crucifixion — William Patrick Roberts

    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 Munitions Factory (1940), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. William Patrick Roberts was about 25 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

    Who created "The Crucifixion" and in what year?

    The author of "The Crucifixion" is William Patrick Roberts, and the work is dated 1920.

    Is "The Crucifixion" by William Patrick Roberts in the public domain?

    Regarding copyright, "The Crucifixion" is still protected by copyright.

    Are the colors of "The Crucifixion" by William Patrick Roberts saturated or muted?

    "The Crucifixion" by William Patrick Roberts is recorded with a subtle color saturation.