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Student Artwork Guide

Uphill from the North

Name Class Date

ernest procter, Uphill from the North (1934), Bristol Museum - Art Gallery. Public domain.

The facts

Artist
ernest procter wahooart.com/en/artists/ernest-procter/
Artist’s dates
1885 – 1935
Painted
1934
Original size
75 x 121 cm
Movement
Newlyn School
Held at
Bristol Museum - Art Gallery wahooart.com/en/museums/bristol-museum-art-gallery-bristol/

In context

Uphill from the North — ernest procter

How big is it?

The original measures 75 × 121 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930

Shaded: the lifetime of ernest procter (1885–1935) ▲ this work, 1934

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/ernest-procter-uphill-from-the-north-AQUEHG-en/

Colours

Measured from the image

    Main colour

    Putty #cfc6a2

    Catalogued palette

    • #CFC6A2
    • #B0A987
    • #6A5435
    • #A3944C
    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Putty
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Uphill from the North — ernest procter

    The Ernest Procter painting, Uphill from the North, is a breathtaking oil on canvas artwork that showcases the artist's exceptional skill in capturing the serenity of nature. Created in 1934, this masterpiece measures 75 x 121 cm and is currently housed at the Bristol Museum - Art Gallery in Bristol, United Kingdom.

    About the Painting

    The painting depicts a picturesque scene of a valley with mountains in the background, filled with green grass and scattered trees. A river flows through the valley, creating a serene atmosphere. Two people are visible in the painting, one near the center and another towards the right side of the image. The colors used in the painting are vibrant and rich, making it a visually appealing piece of artwork. Key Features of the painting include:

    The use of oil on canvas, which adds depth and texture to the artwork

    The vibrant colors used to capture the beauty of nature

    The serene atmosphere created by the river flowing through the valley

    Artist and Style

    Ernest Procter was a renowned artist known for his exceptional skill in capturing the beauty of nature. His style is characterized by the use of vibrant colors and intricate details, which are evident in Uphill from the North. For more information on Ernest Procter and his artworks, visit /art/list/?Filter=AQUEHG-Ernest-Procter-Uphill-from-the-North.

    To explore more artworks like Uphill from the North, visit /en/art/show/art-aquehg-en/ and discover the beauty of handmade oil painting reproductions.

    Artist and museum

    Artist

    ernest procter

    Ernest Procter: A Cornish Vision of Light and Sensuality

    Born in Tynemouth, Northumberland, in 1885, Ernest Procter’s artistic journey began within a family steeped in tradition – his father, Henry Richardson Procter, was a distinguished chemist and Fellow of the Royal Society, while his lineage traced back to generations of Quaker tanners. This unique blend of scientific rigor and artisanal heritage profoundly shaped Procter's approach to art, imbuing his work with both meticulous observation and a deep appreciation for texture and materiality. Initially educated at Bootham Friends’ School in York, he later found his way to Newlyn, Cornwall, a burgeoning hub of artistic innovation during the early 20th century – a place that would become inextricably linked to his identity and creative output.

    Newlyn, with its vibrant community of artists drawn from across Britain, offered Procter an environment ripe for experimentation. He enrolled in Stanhope Forbes’ School of Painting, absorbing the principles of Impressionism and the Newlyn School's distinctive style – a focus on capturing the fleeting effects of light and atmosphere, particularly within the rugged beauty of the Cornish coastline. His time under Forbes proved formative, fostering his technical skills and introducing him to fellow students like Dod Procter, whom he would later marry in 1912. This union marked not only a personal partnership but also a collaborative artistic force; together, they established the Harvey-Procter School, a respected institution that nurtured young artists and contributed significantly to the local art scene.

    The Influence of Forbes and Parisian Training

    Stanhope Forbes’ teachings were crucial in shaping Procter's early style. Forbes emphasized direct observation, encouraging students to capture the essence of their subjects rather than relying on academic conventions. This approach is evident in Procter’s landscapes – particularly his depictions of Penlee Point, a dramatic headland overlooking the Atlantic – where he masterfully renders the interplay of light and shadow, conveying both the grandeur and vulnerability of the Cornish coastline. However, Procter's artistic development extended beyond Newlyn; he spent time studying at the Atelier Colarossi in Paris, immersing himself in the vibrant atmosphere of the Parisian art world and absorbing the techniques of Impressionism and Post-Impressionism. Artists like Pierre-Auguste Renoir and Paul Cézanne undoubtedly influenced his palette and approach to capturing fleeting moments.

    Portraits and the Exploration of Sensuality

    While Procter’s landscapes are undeniably striking, it is perhaps in his portraits that he truly excelled. His subjects – often young women from the local fishing community – were rendered with a remarkable sensitivity and attention to detail. He eschewed idealized representations, instead capturing their inherent dignity and vulnerability. Works like “Professor Henry Richardson Procter” showcase this talent for realism, while simultaneously conveying a sense of quiet wisdom and inner strength. His portraits are not merely likenesses; they are imbued with emotion, revealing the subtle nuances of human character through masterful use of light, shadow, and texture – particularly his signature impasto technique.

    Key Works and Recognition

    Among Procter’s most celebrated works is “Morning,” a captivating portrait of a young fisherman's daughter that caused a sensation at the 1927 Royal Academy exhibition. The painting’s evocative depiction of light, shadow, and emotion secured it the title of "Picture of the Year" and was subsequently purchased by the Daily Mail for display in the Tate Gallery. Other notable works include “Penlee Point,” a stunning landscape that exemplifies his mastery of capturing the Cornish coastline, and “Uphill from the North,” a vibrant depiction of a coastal scene showcasing his ability to translate the beauty of nature onto canvas. His work was also exhibited at the Royal Academy, the Leicester Galleries, and other prestigious venues throughout Britain.

    A Legacy in Cornwall

    Ernest Procter’s artistic legacy extends far beyond his individual paintings. He played a pivotal role in fostering the Newlyn School and its distinctive style, contributing to the development of Cornish art as a whole. His commitment to teaching and mentorship ensured that his techniques and vision were passed on to future generations of artists. Even today, Procter's work continues to resonate with viewers, offering a poignant glimpse into the beauty and spirit of Cornwall – a testament to an artist who captured not just the landscape but also the very essence of human experience.

    Museum

    Bristol Museum - Art Gallery

    On show in Bristol, United Kingdom

    A Bastion of Culture: The Soul of Bristol

    Nestled in the elegant heart of Clifton, overlooking the dramatic expanse of the Avon Gorge, the Bristol Museum & Art Gallery stands as a profound testament to the enduring power of human creativity and historical inquiry. More than a mere repository for artifacts, this institution serves as a vibrant cultural crossroads where centuries collide and stories unfold within walls of architectural splendor. Since its origins in 1823, evolving from the ambitious Bristol Institution for the Advancement of Science and Art, the museum has maintained an unwavering commitment to public enrichment. This dedication is most poignantly felt in its enduring free admission policy, a rare and precious gift in a modern era often dominated by commercial interests, ensuring that the treasures within remain accessible to every curious mind, from the local student to the seasoned global collector.

    To enter the museum is to step into a masterpiece of Edwardian Baroque grandeur. Designed by the visionary Frederick Wills, the building itself commands respect with its opulent detailing and monumental scale. As visitors traverse the magnificent halls, they are bathed in a soft, ethereal light that filters through spectacular barrel-vaulted glazed roofs—a triumph of engineering that lends an airy, expansive atmosphere to the entire experience. The graceful double staircase acts as a sculptural centerpiece, inviting guests to ascend into realms of artistic and historical wonder. This Grade II* listed landmark does not merely house art; it provides a dignified stage where the architectural harmony of the setting enhances the profound significance of the collections held within.

    A Kaleidoscope of Human Achievement

    The true magic of the Bristol Museum & Art Gallery lies in its breathtakingly diverse collection, a kaleidoscope of human history and artistic expression. For those drawn to the mysteries of antiquity, the Egyptian Collection offers a hauntingly beautiful journey back millennia, where remarkably preserved mummies and intricate artifacts whisper the secrets of pharaohs and ancient spiritual beliefs. This sense of global connection continues through the vibrant, symbolic narratives found in the museum’s Islamic art, featuring exquisite pieces from Persia and Morocco that illuminate the rich textures of Eastern heritage. The museum also serves as a vital guardian of local identity, showcasing the celebrated English delftware tradition that defines Bristol’s unique artisanal history.

    For the lover of fine art and the interior designer seeking inspiration, the gallery’s paintings offer an unparalleled panoramic view of artistic evolution. The collection features the sweeping landscapes of Turner and Constable, the delicate touch of Whistler, and the raw, visceral energy of Francis Bacon. This dialogue between the masters of the past and contemporary painters captures the very spirit of modern Bristol, creating a space where tradition and innovation exist in constant conversation. Beyond the canvas, the museum’s geological specimens provide a grounding connection to the Earth itself, showcasing fossils from the Jurassic and Cretaceous periods alongside rare minerals gathered from every corner of the globe.

    A Stage for Innovation and Community

    What truly distinguishes this institution is its fearless embrace of the contemporary and the unexpected. The museum has proven itself to be a bold provocateur, most famously demonstrated in 2009 when it played host to a large-scale, secretly planned exhibition by the enigmatic street artist Banksy. This event, executed with characteristic wit and shrouded in mystery, captured worldwide attention and cemented the museum’s reputation as a space where art can transcend traditional boundaries to provoke vital social dialogue. It is this ability to bridge the gap between high art and urban culture that makes the museum a living, breathing entity rather than a static monument.

    This spirit of inclusivity extends into the community through joyous celebrations such as the annual Lunar New Year, which transforms the galleries into a festive arena for performers and artisans from across Asia. Whether one is an art historian studying the nuances of a Victorian oil painting, a family discovering the wonders of natural history, or a collector seeking hidden gems, the Bristol Museum & Art Gallery offers a sanctuary of discovery. It remains a unique cultural beacon, illuminating Bristol’s rich heritage while casting a bright, welcoming light on the limitless possibilities of the future.

    Where to read more

    Find this online

    QR code linking to the download page for Uphill from the North

    wahooart.com/en/art/download/ernest-procter-uphill-from-the-north-AQUEHG-en/

    Cite this artwork

    MLA
    procter, ernest. Uphill from the North. 1934, Bristol Museum - Art Gallery. https://wahooart.com/en/art/ernest-procter-uphill-from-the-north-AQUEHG-en/
    APA
    procter, ernest (1934). Uphill from the North [Painting]. Bristol Museum - Art Gallery. https://wahooart.com/en/art/ernest-procter-uphill-from-the-north-AQUEHG-en/
    Chicago
    ernest procter. Uphill from the North. 1934. Bristol Museum - Art Gallery. https://wahooart.com/en/art/ernest-procter-uphill-from-the-north-AQUEHG-en/
    Harvard
    procter, ernest (1934) Uphill from the North. Bristol Museum - Art Gallery. Available at: https://wahooart.com/en/art/ernest-procter-uphill-from-the-north-AQUEHG-en/

    Look closely

    Uphill from the North — ernest procter

    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: landscape painting, valley scenery, mountain views. Do you agree? What would you add, or take away?
    4. Look back at Burmese Boy in a Bullock Cart (1925), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. ernest procter was about 49 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.