Student Artwork Guide
Copyright This work is in the public domain. William Keith died in 1911; copyright lasts 70 years after the artist’s death, so it ended in 1981.
In context
Approaching Storm — William Keith
The original measures 76 × 127 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 73 at death.
Painted when the artist was 42. The artist lived to 73. 13 of the 22 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of William Keith (1838–1911) ▲ this work, 1880 every dated painting, decade by decade
First works: up to 1875 Main working years: 1875–1882 Late works: from 1882
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
Pick one work above: name two things it shares with this one, and one thing that's different.
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Measured from the image
Main colour
Putty #e1cfc9
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
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.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 28 works by this artist, of which 11 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
Born in Melrose, United Kingdom
William Keith, born in Oldmeldrum, Aberdeenshire, Scotland in 1838, was an artist whose life became inextricably linked with the dramatic beauty of the American West. His story is one of migration, artistic evolution, and a deep spiritual connection to the natural world. The family’s move to New York City in 1850, following his father's death, marked the beginning of a new chapter, where young William initially trained as a wood engraver – a skill that honed his observational abilities and understanding of line and form. This apprenticeship with Harper’s Magazine provided valuable experience, but it was a brief sojourn back to Scotland and England in 1858, working for the London Daily News, that stirred within him a longing for artistic expression beyond the constraints of commercial art. The pull westward proved irresistible, leading him to San Francisco in 1859, initially seeking engraving work but quickly recognizing his true calling lay in capturing the untamed landscapes unfolding before him. His early training with Samuel Marsden Brookes and Elizabeth Emerson – whom he would later marry in 1864 – provided a foundational understanding of painting techniques, particularly watercolor, setting the stage for his future explorations in oil.
Keith’s artistic journey took him back across the Atlantic in 1869, this time to Düsseldorf, Germany, where he studied under Albert Flamm and encountered the influence of Andreas Achenbach. However, it was his time in Paris that proved truly transformative. Immersed in the atmosphere of the Barbizon School, Keith absorbed their emphasis on direct observation of nature, tonal values, and a poetic rendering of light and mood. This experience fundamentally shifted his approach to landscape painting, moving him away from meticulous detail towards a more evocative and emotionally resonant style. A brief period sharing a studio with William Hahn in Boston during 1871-72 further solidified these influences before he returned to California, forever changed by his European sojourn. Upon his return, Yosemite Valley became a central focus of his work, a place that resonated deeply with his spiritual sensibilities and provided endless inspiration. It was here, amidst the granite cliffs and cascading waterfalls, that Keith began to forge his unique artistic voice – one characterized by a profound sense of atmosphere and an almost mystical connection to the land. His ambitious undertaking of creating large-scale panoramas during the 1870s—massive canvases measuring six by ten feet—demonstrated both his technical skill and his desire to immerse viewers in the grandeur of the California scenery.
Keith’s artistic style increasingly aligned with Tonalism and the American Barbizon School, movements that prioritized mood, atmosphere, and subjective experience over strict realism. This shift was further deepened by his friendship with John Muir, the renowned naturalist and conservationist. Their shared Scottish heritage and reverence for the California mountains fostered a profound connection, with Muir encouraging Keith to depict nature authentically while Keith sought to express its spiritual essence through his art. The influence of Swedenborgian minister Joseph Worcester after the death of his first wife, Elizabeth, also played a significant role, leading Keith to imbue his landscapes with a sense of transcendental beauty and spiritual contemplation. His later collaboration with fellow Tonalist George Inness in the 1890s further refined his technique, emphasizing subtle tonal variations and atmospheric effects. Keith believed that technical skill alone was insufficient; true art required conveying emotions and spiritual sensations. Throughout his prolific career – he created over 4,000 oil paintings – Keith consistently sought to capture not just what he saw, but what he felt when immersed in the natural world. He enjoyed patronage from architect Daniel Burnham, who recognized the power and beauty of his work. A trip to Alaska in 1886 provided illustrations for John Muir’s “Picturesque California,” showcasing Keith's versatility and ability to capture diverse landscapes.
William Keith received widespread recognition during his lifetime, exhibiting extensively from the 1870s onward, including participation in international expositions. The posthumous honor of an entire room dedicated to his work at the Panama-Pacific International Exposition in 1915 stands as a testament to his significant contribution to American art. Today, Saint Mary’s College Museum of Art in Moraga, California, safeguards over 170 works associated with him, ensuring that future generations can experience the beauty and depth of his vision. Keith's historical significance lies not only in his pioneering role in establishing California landscape painting as a distinct genre but also in his ability to bridge European artistic traditions with American subject matter and sensibilities. He was a master of atmosphere, capable of evoking a sense of tranquility, awe, and spiritual connection through his subtle use of color and light. His tonalist style profoundly influenced subsequent generations of artists, leaving an indelible mark on the development of landscape painting in America. He provided invaluable visual records of California’s natural beauty during a period of rapid change and development, capturing a fleeting moment in time before the landscape was irrevocably altered by human intervention. Keith's legacy endures as a reminder of the power of art to connect us to nature, to inspire contemplation, and to reveal the spiritual dimensions of the world around us.
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Look closely
Approaching Storm — William Keith
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Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
The colors of "Approaching Storm" by William Keith show a softly mixed palette harmony. Harmony describes how the colors relate to each other.
The copyright answer for "Approaching Storm" by William Keith: the work is in the public domain - its copyright has expired. This determines whether reproductions of the image may be freely made.
A preview of "Approaching Storm" by William Keith is available on the artwork's Preview page.