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Student Artwork Guide

Dead Game

Name Class Date

Emily Stannard, Dead Game (1837). 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
Emily Stannard wahooart.com/en/artists/emily-stannard/
Painted
1837
Original size
42 x 31 cm
Movement
Norwich School

In context

Dead Game — Emily Stannard

How big is it?

The original measures 42 × 31 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1820
  2. 1830
  3. 1840
  4. 1850

▲ this work, 1837 every dated painting, decade by decade

First works: up to 1828 Main working years: 1828–1844 Late works: from 1844

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: wahooart.com/en/art/similar/emily-stannard-dead-game-AS7W47-en/

Colours

Measured from the image

    Main colour

    Espresso #4e3a28

    Catalogued palette

    • #4E3A28
    • #171114
    • #CEB37B
    • #967F4F

    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
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow 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 Emily Stannard over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%

    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 7 most looked-at works by Emily Stannard

    1. 1 Dead Game and a Gun, 1835 22.2%
    2. 2 Still Life of Dead Ducks, a Hare with a Basket and a Sprig of Holly, 1853 22.2%
    3. 3 A Bird Study, 1828 22.2%
    4. 4 Still Life of Dead Game with a Flagon and a String of Onions, 1847 11.1%
    5. 5 Vase of Flowers, 1820 11.1%
    6. 6 Still Life of Hamper with Dead Wood Pigeon and Leveret 11.1%
    7. — Dead Game, 1837 this painting 0.0%

    Together these works take 99.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 10 works by this artist, of which 6 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

    Emily Stannard

    Emily Stannard: A Bedfordshire Visionary

    Emily Stannard (née Emily Coppin; 8 February 1802 – 6 January 1885), who from 1826 called herself (even during her long widowhood) Mrs Joseph Stannard, was a British still life painter. She was associated with the Norwich School of painters, Britain's first provincial art movement. Along with her niece Eloise Harriet Stannard, she is considered to be the most accomplished British female still life artist of the 19th century.

    Stannard’s artistic journey began in Norwich, where she was born into a family deeply rooted in artistic pursuits. Her parents, Daniel Coppin and Ruth Willsher, instilled in her a passion for art from an early age—a formative influence that would shape her distinctive style. Recognizing her talent, they encouraged her to study the techniques of celebrated Dutch masters like Jan van Huysum, immersing herself in the aesthetic principles of the Golden Age. This exposure proved pivotal, establishing a foundation for her later explorations of light and color within her landscapes and still lifes.

    Early Influences: The Norwich School’s emphasis on capturing the beauty of the English countryside—particularly Bedfordshire—became Stannard's primary focus. Artists such as John Crome and John Sell Cotman championed a style characterized by meticulous observation and tonal harmonies, mirroring the artistic sensibilities of their time.

    Technical Mastery: Stannard’s paintings are renowned for their exceptional detail and refined execution. She skillfully employed glazing techniques—applying thin layers of translucent paint over underlying colors—to achieve luminous effects and create a sense of atmospheric depth. This meticulous approach reflects the prevailing artistic conventions of the Victorian era, where artists sought to emulate the grandeur and precision of classical art.

    The Norwich School Legacy

    Stannard’s association with the Norwich School cemented her place in British art history. Founded in 1857 by John Crome and John Sell Cotman—the leading spirits and finest artists of the movement—the school represented a significant departure from London's dominant artistic trends. It championed a distinctive aesthetic rooted in topographical observation and tonal harmonies, prioritizing the depiction of rural landscapes with an unwavering commitment to realism. This ethos profoundly impacted Stannard’s artistic vision, shaping her compositions and informing her palette.

    Notable Contemporaries: Alongside Crome and Cotman, Stannard collaborated closely with fellow Norwich School painters James Stark, George Vincent, and Robert Ladbrooke—artists who shared a similar dedication to capturing the essence of Bedfordshire’s scenery. Their collective efforts fostered an environment of artistic exchange and mutual inspiration, contributing to the school's enduring reputation for excellence.

    Symbolic Representation: Stannard’s landscapes weren’t merely representations of physical locations; they conveyed deeper symbolic meanings—reflecting Victorian ideals of tranquility, contemplation, and communion with nature. Her paintings often depict serene scenes bathed in soft light, evoking a sense of spiritual resonance that aligns with the broader artistic currents of her era.

    Major Achievements & Recognition

    Emily Stannard achieved considerable acclaim during her lifetime—primarily through her masterful depictions of Bedfordshire’s flora and fauna. Her paintings garnered critical praise from local publications, establishing her as a respected figure within the Norwich artistic community. Furthermore, she was awarded a prestigious gold medal at the Royal Academy in 1820 for an original painting of flowers—a testament to her technical skill and artistic vision.

    Royal Society Recognition: Stannard’s dedication to her craft earned her honorary membership in the Norwich Society of Artists, recognizing her contribution to the region's artistic heritage.

    Legacy & Influence: Emily Stannard’s work continues to inspire artists and scholars alike—serving as a compelling example of Victorian landscape painting and demonstrating the enduring power of observation and tonal harmony. Her legacy resides in her ability to transform ordinary scenes into canvases imbued with beauty, emotion, and profound artistic significance.

    Further Exploration

    For more information about Emily Stannard’s life and work, consult these resources:

    Wikipedia: https://en.wikipedia.org/wiki/Emily_Stannard

    Wikipedia: https://en.wikipedia.org/wiki/Lilian_Stannard

    Where to read more

    Find this online

    QR code linking to the download page for Dead Game

    wahooart.com/en/art/download/emily-stannard-dead-game-AS7W47-en/

    Cite this artwork

    MLA
    Stannard, Emily. Dead Game. 1837, https://wahooart.com/en/art/emily-stannard-dead-game-AS7W47-en/
    APA
    Stannard, Emily (1837). Dead Game [Painting]. https://wahooart.com/en/art/emily-stannard-dead-game-AS7W47-en/
    Chicago
    Emily Stannard. Dead Game. 1837. https://wahooart.com/en/art/emily-stannard-dead-game-AS7W47-en/
    Harvard
    Stannard, Emily (1837) Dead Game. Available at: https://wahooart.com/en/art/emily-stannard-dead-game-AS7W47-en/

    Look closely

    Dead Game — Emily Stannard

    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: still life, dead birds, victorian art. Do you agree? What would you add, or take away?
    4. Look back at Vase of Flowers (1820), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Themes that come back through the work of Emily Stannard: dutch masters influence, victorian morality themes, mortality & decay focus. Which of them do you see here?

    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

    What colors dominate "Dead Game" by Emily Stannard?

    "Dead Game" by Emily Stannard uses an earthy palette, with espresso (#4e3a28) as the dominant color.

    Who created "Dead Game" and in what year?

    Emily Stannard made "Dead Game" in 1837.

    How light is "Dead Game" overall?

    Overall, "Dead Game" is recorded as deep_shadow. Perceived brightness describes how light or dark the work appears.