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Leitfaden für studentische Kunstwerke

Springtime at Anworth

Name Klasse Datum

john guthrie spence smith, Springtime at Anworth (1934). Gemeinfreiheit.

Eckdaten

Künstler
john guthrie spence smith wahooart.com/de/artists/john-guthrie-spence-smith/
Lebensdaten des Künstlers
1880 – 1951
Gemalt
1934
Originalgröße
51 x 58 cm
Bewegung
Impressionism Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio.

Im Kontext

Springtime at Anworth — john guthrie spence smith

Maße

Das Original hat die Maße 51 × 58 cm (Höhe × Breite), hier dargestellt neben einer erwachsenen Person von durchschnittlicher Größe.

Entstehungsjahr

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

Schattiert: das Lebenswerk von john guthrie spence smith (1880–1951) ▲ dieses Werk, 1934

Ähnliche Kunstwerke

Wählen Sie eines der oben genannten Werke aus: Nennen Sie zwei Gemeinsamkeiten mit diesem Werk und einen Unterschied.

Weitere Werke, die sich ideal als Ergänzung zu diesem Werk eignen: wahooart.com/de/art/similar/john-guthrie-spence-smith-springtime-at-anworth-AQUSHF-en/

Farbpalette

Anhand des Bildes gemessen

    Hauptfarbe

    Gray #7e7961

    Gespeicherte Palette

    • #7E7961
    • #5F5B3F
    • #333122
    • #A89C7E
    Hauptfarbe
    Gray
    Intensität
    Balanced Wie gesättigt und vielfältig die Farben sind – von einem einzelnen, dezenten Farbton bis hin zu einer Vielzahl leuchtender Töne.
    Kontrast
    Gentle Wie stark sich die Farben in Helligkeit und Sättigung über das Bild hinweg unterscheiden.
    Harmonie
    Strong Color Unity Wie gut die Farben zusammenwirken, von kontrastreich bis hin zu vollkommen harmonisch.
    Helligkeit
    Balanced Wie hell oder dunkel das Bild insgesamt wirkt, von tiefen Schatten bis hin zu strahlenden Glanzpunkten.
    Sättigung
    Subtle Color Wie rein und kräftig die Farben sind, von fast Grau bis hin zu voll lebendig.

    Künstler und Museen

    Künstler/in

    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

    Weitere Lesetipps

    Online verfügbar

    QR-Code mit Link zur Download-Seite für Springtime at Anworth

    wahooart.com/de/art/download/john-guthrie-spence-smith-springtime-at-anworth-AQUSHF-en/

    Zitierweise für dieses Kunstwerk

    MLA
    smith, john guthrie spence. Springtime at Anworth. 1934, https://wahooart.com/de/art/john-guthrie-spence-smith-springtime-at-anworth-AQUSHF-en/
    APA
    smith, john guthrie spence (1934). Springtime at Anworth [Painting]. https://wahooart.com/de/art/john-guthrie-spence-smith-springtime-at-anworth-AQUSHF-en/
    Chicago
    john guthrie spence smith. Springtime at Anworth. 1934. https://wahooart.com/de/art/john-guthrie-spence-smith-springtime-at-anworth-AQUSHF-en/
    Harvard
    smith, john guthrie spence (1934) Springtime at Anworth. Available at: https://wahooart.com/de/art/john-guthrie-spence-smith-springtime-at-anworth-AQUSHF-en/

    Genau hinsehen

    Springtime at Anworth — john guthrie spence smith

    Genau hinsehen

    Antworten Sie in Ihren eigenen Worten. Es gibt hier keine falschen Antworten – nur Antworten, die Sie begründen können.

    1. Was fällt Ihnen als Erstes ins Auge und warum?
    2. Welche Farben oder Formen erzeugen die Stimmung – und wie lässt sich diese beschreiben?
    3. Unser Katalog ordnet dieses Werk unter folgenden Schlagworten ein: landscape, rural, cottage. Stimmen Sie dem zu? Was würden Sie hinzufügen oder weglassen?
    4. Werfen Sie einen Blick zurück auf Bakehouse Close (1941), weiter oben in diesem Leitfaden. Nennen Sie zwei Gemeinsamkeiten mit diesem Werk und eine Besonderheit.
    5. Impressionism: Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio. Wo lässt sich dies in diesem Werk erkennen?

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