Format papirja

Priročnik za študentska dela

Farm Cottages, Ceres

Ime in priimek Razred Datum

john guthrie spence smith, Farm Cottages, Ceres (1929). Dostopno v javni lastnini.

Podrobnosti

Umetnik
john guthrie spence smith originaluniqueart.com/sl/artists/john-guthrie-spence-smith/
Datumi rojstva in smrti umetnika
1880 – 1951
Naslikano
1929
Prvotna velikost
64 x 76 cm
Gibanje
Impressionism Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio.

In context

Farm Cottages, Ceres — john guthrie spence smith

How big is it?

The original measures 64 × 76 cm (height × width), drawn here beside an adult of average height.

Kdaj je bilo to naslikano?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940
  8. 1950

Osenčeno: življenjsko obdobje john guthrie spence smith (1880–1951) ▲ to delo, 1929

Primerjajte z

  • Bakehouse Close, 1941 originaluniqueart.com/sl/art/john-guthrie-spence-smith-bakehouse-close-AQUSHK-en/
  • Self Portrait (recto), 1917 originaluniqueart.com/sl/art/john-guthrie-spence-smith-self-portrait-recto-AQUSGD-en/
  • Cir Mhor originaluniqueart.com/sl/art/john-guthrie-spence-smith-cir-mhor-AQUSJ9-en/

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Več del, ki bi jih postavili ob to: originaluniqueart.com/sl/art/similar/john-guthrie-spence-smith-farm-cottages-ceres-AQUSH3-en/

Barve

Izmerjeno na podlagi slike

    Glavna barva

    Espresso #3b391a

    Shranjena paleta

    • #3B391A
    • #807248
    • #5C552D
    • #9D987B
    Naziv primarne barve
    Espresso
    Intenzivnost
    Balanced Stopnja zasičenosti in raznolikost barv, od enotnega, zamegljenega odtisa do številnih živahnih barv.
    Kontrast
    Gentle V kolikšni meri se barve po svetlini in zasičenosti razlikujejo skozi celotno sliko.
    Harmonija
    Unified Palette Stopnja harmonije barv, od kontrastnih do popolnoma ujednotenih.
    Zasvetlina
    Balanced Razmera svetloosti in temnine slike v celoti, od globokih senc do svetlih visokih svetlob.
    Zasičenost
    Balanced Soft Kolikograščena in močna so barve, od skoraj sivih do popolnoma živahnih.

    Umetnik in muzej

    Umetnik

    john guthrie spence smith

    John Guthrie Spence Smith: A Visionary of Scottish Landscapes

    John Guthrie Spence Smith (1880-1951) remains a quietly significant figure in 20th-century British art, particularly within the rich tapestry of Scottish painting. Born in Perth, Scotland, into a family profoundly shaped by tragedy – his three older brothers succumbed to illness at young ages – Smith’s early life instilled a sensitivity and perhaps an unusual focus on observation. A childhood affliction robbed him of speech and hearing, a circumstance that arguably sharpened his visual perception and fostered a unique way of engaging with the world around him. This formative experience deeply influenced his artistic approach, imbuing his landscapes with a profound sense of stillness and quiet contemplation.

    Smith’s formal training began at Dundee College of Art, followed by studies at Edinburgh College of Art and the prestigious Royal Scottish Academy Life Drawing Classes under the tutelage of Robert Burns and Charles Hodge Mackie. These formative years exposed him to established artistic traditions while simultaneously nurturing his own distinctive style. He quickly distinguished himself as a talented artist, winning several prizes during his time at the RSA, demonstrating an early aptitude for capturing light, atmosphere, and the subtle nuances of the Scottish countryside. Crucially, he became involved with the Edinburgh Group, a collective of artists who challenged academic conventions and sought to forge a new path for modern art in Scotland. This association exposed him to innovative ideas and provided a platform for his work to be seen alongside other emerging talents.

    A Distinctive Style: Landscape and Streetscapes

    Smith’s artistic output is primarily characterized by meticulously rendered landscapes and evocative street scenes, predominantly depicting the familiar yet subtly transformed vistas of Perthshire, Angus, and the surrounding areas. He wasn't interested in dramatic, sweeping compositions; instead, he favored a measured approach, capturing the quiet dignity of rural life and the understated beauty of everyday settings. His palette was restrained, relying on muted earth tones – ochres, browns, greys, and blues – to create a sense of atmospheric depth and realism. He skillfully employed light and shadow to convey the changing moods of the Scottish weather, imbuing his paintings with a palpable sense of time and place. His work is often described as having a “colourist” quality, echoing the influence of artists like J.M. Whistler, though Smith’s approach was firmly rooted in his own unique vision.

    Influences and Artistic Development

    Smith's artistic journey reveals a complex interplay of influences. The traditional landscape painting of the Scottish Colourists – particularly their emphasis on capturing the essence of light and colour – undoubtedly shaped his early style. However, he also absorbed elements from Impressionism and Post-Impressionism, evident in his use of broken brushstrokes and his exploration of subjective perception. His time spent in France during World War I, though brief, provided a crucial opportunity to study the works of masters like Monet and Renoir, further expanding his artistic horizons. Following the war, he returned to Scotland, continuing to develop his distinctive style while maintaining close ties with the Edinburgh art community. His later work demonstrates an increasing confidence and maturity, reflecting a deeper understanding of both his subject matter and his own artistic voice.

    Legacy and Recognition

    Despite not achieving widespread fame during his lifetime, John Guthrie Spence Smith’s contribution to Scottish art is now increasingly recognized. His paintings are held in public collections across Scotland, including those of Glasgow, Paisley, Perth, and Greenock Museums, testament to the enduring quality of his work. His membership in the Royal Scottish Academy and his association with the Edinburgh Group cemented his place within a pivotal period of artistic innovation in Scotland. Smith’s legacy lies not only in his beautiful paintings but also in his quiet determination to pursue his artistic vision despite significant personal challenges. He represents a compelling example of an artist who found solace and expression through observation, capturing the essence of Scottish life with remarkable sensitivity and skill. His work continues to resonate with viewers today, offering a glimpse into a bygone era and a profound appreciation for the beauty of the Scottish landscape.

    Further Resources

    Art UK: https://artuk.org/discover/artists/smith-john-guthrie-spence-18801951

    Fleming Collection: https://www.flemingcollection.com/copy-of-spencer-richard-b

    Glasgow Museums Collections Online: https://collections.glasgowmuseums.com/mwebcgi/mweb?request=record;id=8890;type=701

    askART: https://www.askart.com/artist/john_guthrie_spence/11071253/john_guthrie_spence.aspx?alert=info

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    Navodila za citiranje umetniškega dela

    MLA
    smith, john guthrie spence. Farm Cottages, Ceres. 1929, https://originaluniqueart.com/sl/art/john-guthrie-spence-smith-farm-cottages-ceres-AQUSH3-en/
    APA
    smith, john guthrie spence (1929). Farm Cottages, Ceres [Painting]. https://originaluniqueart.com/sl/art/john-guthrie-spence-smith-farm-cottages-ceres-AQUSH3-en/
    Chicago
    john guthrie spence smith. Farm Cottages, Ceres. 1929. https://originaluniqueart.com/sl/art/john-guthrie-spence-smith-farm-cottages-ceres-AQUSH3-en/
    Harvard
    smith, john guthrie spence (1929) Farm Cottages, Ceres. Available at: https://originaluniqueart.com/sl/art/john-guthrie-spence-smith-farm-cottages-ceres-AQUSH3-en/

    Look closely

    Farm Cottages, Ceres — john guthrie spence smith

    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: rural landscape, cottage scene”, “farm life”. Do you agree? What would you add, or take away?
    4. Look back at Bakehouse Close (1941), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Impressionism: Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio. 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.