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Student Artwork Guide

A Deeside Stackyard in Winter

Name Class Date

david macbeth sutherland, A Deeside Stackyard in Winter (1940), Royal Scottish Academy of Art - Architecture. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
david macbeth sutherland topimpressionists.com/en/artists/david-macbeth-sutherland/
Artist’s dates
1883 – 1973
Painted
1940
Original size
61 x 85 cm
Held at
Royal Scottish Academy of Art - Architecture topimpressionists.com/en/museums/royal-scottish-academy-of-art-architecture-edinburgh/

In context

A Deeside Stackyard in Winter — david macbeth sutherland

How big is it?

The original measures 61 × 85 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
  7. 1940
  8. 1950
  9. 1960
  10. 1970

Shaded: the lifetime of david macbeth sutherland (1883–1973) ▲ this work, 1940

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: topimpressionists.com/en/art/similar/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/

Colours

Measured from the image

    Main colour

    Walnut #835c3a

    Catalogued palette

    • #835C3A
    • #9F7A54
    • #443121
    • #64442A
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Balanced 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
    Shadow 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.

    Artist and museum

    Artist

    david macbeth sutherland

    Born in Wick, United Kingdom

    Charles Sheeler: Capturing the Steel and Light of Modern America

    Born in Philadelphia in 1883, Charles Rettrew Sheeler Jr. emerged as a pivotal figure in American art during a period of dramatic transformation – the rise of industrialization and the burgeoning metropolis. His early life, steeped in the traditions of formal artistic training at the Pennsylvania Academy of the Fine Arts, provided a solid foundation, yet it was his subsequent exploration of photography and a deep fascination with the geometry of modern architecture that truly defined his unique vision. Sheeler’s work isn't simply documentation; it’s an investigation into the very essence of American progress – its power, its scale, and its inherent beauty.

    Sheeler’s artistic journey began within the established framework of academic art. He received instruction in industrial drawing and applied arts at the School of Industrial Art in Philadelphia, a curriculum designed to prepare artists for commercial applications. However, his exposure to William Merritt Chase, a prominent American Impressionist, proved transformative. Chase's emphasis on capturing light and atmosphere ignited a passion within Sheeler that would later inform his approach to photographing and painting industrial subjects. Crucially, his travels with his parents and friend Morton Schamberg through Europe in 1908-9 exposed him to the Italian Renaissance masters – Giotto, Masaccio, and Piero della Francesca – whose mastery of form and massing profoundly influenced his aesthetic sensibilities. These artists’ ability to distill complex subjects into simplified geometric shapes became a cornerstone of Sheeler's own style.

    The turning point in Sheeler’s career arrived with the adoption of photography. During the early 1900s, he began documenting the industrial landscape around his home in Doylestown, Pennsylvania. Initially, this was driven by a need to earn income as a freelance photographer, capturing buildings for architects and illustrating articles for magazines. However, it quickly evolved into something far more profound. He wasn’t merely recording structures; he was dissecting them – reducing them to their fundamental geometric components. His photographs of barns, with their stark lines and repetitive patterns, became iconic representations of American vernacular architecture, celebrating its functional simplicity and inherent beauty. This fascination with the geometry of industrial forms would later translate into his paintings, where he sought to capture the same sense of order and precision.

    The Precisionist Movement and Industrial Aesthetics

    Sheeler’s work is inextricably linked to the emergence of the Precisionist movement in early 20th-century America. This group of artists – including Charles Deming, George Page, and Joseph Stella – shared Sheeler's commitment to clarity, precision, and a rejection of Impressionistic subjectivity. They sought to depict modern life with an objective eye, focusing on the tangible forms and structures that defined the era. Unlike the loosely rendered scenes of Impressionists, Precisionist paintings were characterized by sharp lines, bold colors, and a meticulous attention to detail. Sheeler’s photographs served as invaluable studies for his paintings, providing him with a deep understanding of the spatial relationships within industrial environments.

    His collaboration with Paul Strand on Manhatta (1920) is particularly significant. This groundbreaking silent film utilized Sheeler's photography to create a dynamic and evocative portrayal of New York City’s rapidly evolving skyline. The film’s stark geometric compositions and dramatic lighting captured the energy and momentum of the industrial age, solidifying Sheeler’s reputation as a leading figure in modern art. Following Manhatta, Sheeler continued to document the Ford Motor Company's River Rouge factory in 1927-28, producing a series of thirty-two photographs that celebrated the company’s commitment to efficiency and productivity. These images, devoid of human figures, focused solely on the monumental machinery and vast scale of the operation – a testament to Sheeler’s ability to find beauty in the seemingly mundane.

    Painting from Photographs: A New Approach

    Sheeler's transition from photography to painting was not without its challenges. He initially faced criticism for his use of photographs as source material, with some critics arguing that it compromised the integrity of his artistic vision. However, Sheeler steadfastly defended his approach, asserting that he was simply using photography as a tool to explore and refine his compositions. His paintings – such as City Street (1928) and Automobile Factory (1929) – are characterized by their meticulous detail, bold colors, and geometric precision. He often worked from multiple photographs, combining elements from different images to create a unified composition. His process involved carefully selecting the most compelling angles and lighting conditions, then translating these observations onto canvas with remarkable accuracy.

    Legacy and Influence

    Charles Sheeler’s work continues to resonate today as a powerful reflection of America's industrial past. His photographs and paintings offer a unique perspective on the rise of modern architecture, the growth of American industry, and the changing landscape of urban life. He is remembered not only for his technical skill but also for his ability to capture the spirit of an era – a time of unprecedented technological advancement and social transformation. Sheeler’s influence can be seen in the work of countless artists who followed him, including architects, photographers, and filmmakers. His legacy lies in his pioneering exploration of industrial aesthetics and his unwavering commitment to capturing the beauty and complexity of the modern world.

    Museum

    Royal Scottish Academy of Art - Architecture

    On show in Edinburgh, United Kingdom

    Royal Scottish Academy - A Bastion of Scottish Creativity

    The Royal Scottish Academy stands as a singular institution—a testament to Scotland’s enduring artistic spirit nestled on Edinburgh's historic Mound, where tradition and innovation converge in a celebration of visual arts and architecture. Founded in 1826 by eleven artists seeking greater autonomy from established institutions, the RSA quickly cemented its position as a champion for Scottish talent and artistic excellence. Its story is one of evolution—from initial struggles for recognition to becoming today’s national beacon of creativity—a journey marked by groundbreaking exhibitions and an unwavering commitment to nurturing emerging artists.

    A Legacy of Masters:

    The Academy's collection boasts masterpieces spanning centuries, showcasing the brilliance of Scottish luminaries like James Guthrie, Joan Eardley, William Gillies, and John Philip Busby. Guthrie’s evocative landscapes capture the raw beauty of Scotland’s highlands, while Eardley’s portraits offer poignant glimpses into the lives of ordinary people—a reflection of the RSA's dedication to portraying authentic human experience.

    Architectural Grandeur:

    The RSA’s home is itself a masterpiece—the magnificent building on The Mound designed by William Henry Playfair in neoclassical style, completed in 1859. Its imposing façade exudes an air of artistic authority and timeless elegance, embodying the Academy's belief that architecture can inspire creativity and foster contemplation.

    The Weston Link Project:

    Recent renovations as part of the Weston Link Project have seamlessly integrated the RSA building with the Scottish National Gallery complex, creating a dynamic cultural destination—a space where visitors can explore art history alongside contemporary artistic endeavors.

    A Hub for Artistic Discourse:

    Throughout its history, the RSA has fostered critical dialogue and public engagement through annual exhibitions that showcase both established and emerging artists. These events serve as platforms for exploring pressing social issues and celebrating Scotland’s rich cultural heritage.

    Supporting Future Generations:

    The RSA actively supports aspiring architects and artists—providing awards, residencies, and professional development opportunities—ensuring that Scotland's creative future remains vibrant and innovative.

    Exploring the Collection Highlights

    The Academy’s collection encompasses a diverse range of artistic mediums—paintings, sculptures, drawings, and prints—representing movements from Romanticism to Modernism. Notable pieces include Guthrie’s “The Shepherd Boy,” capturing the rugged majesty of Scottish scenery; Eardley's portraits of rural Scotswomen, imbued with empathy and sensitivity; Gillies’ dramatic depictions of Scotland’s landscape during World War I; and Busby’s meticulous ornithological illustrations—a testament to his scientific rigor combined with artistic skill. Each artwork tells a story—reflecting the social, cultural, and intellectual currents of its time.

    The Playfair Building: An Architectural Jewel

    William Henry Playfair's building on The Mound is more than just a gallery; it’s an embodiment of neoclassical ideals—symmetry, grandeur, and proportion—designed to inspire awe and contemplation. Its hexastyle Ionic porticoes dominate the façade, symbolizing stability and intellectual enlightenment. Recent renovations have revitalized the interior spaces—creating comfortable viewing areas and enhancing accessibility for visitors—preserving this architectural landmark for future generations.

    Notable Exhibitions Throughout History

    From its founding in 1826, the RSA has been at the forefront of artistic innovation—hosting exhibitions that champion groundbreaking works and fostering critical discussion about art history. The Academy’s annual events have consistently attracted leading artists and scholars from across Scotland and internationally—solidifying its reputation as a vital force in shaping Scotland's cultural landscape. Exhibitions have explored themes ranging from Scottish identity to social justice—challenging viewers to confront complex issues and appreciate diverse perspectives.

    What Makes the RSA Unique?

    The RSA distinguishes itself through its unwavering commitment to fostering artistic excellence—supporting emerging artists, promoting architectural innovation, and preserving Scotland’s cultural heritage. Its independence from governmental influence ensures that it remains true to its core mission—celebrating creativity and nurturing talent—a legacy that continues to inspire artists and scholars alike. The RSA stands as a symbol of Scotland's enduring artistic spirit—a place where tradition meets innovation—and where the pursuit of beauty serves as a catalyst for intellectual engagement and social progress.

    Where to read more

    Find this online

    QR code linking to the download page for A Deeside Stackyard in Winter

    topimpressionists.com/en/art/download/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/

    Cite this artwork

    MLA
    sutherland, david macbeth. A Deeside Stackyard in Winter. 1940, Royal Scottish Academy of Art - Architecture. https://topimpressionists.com/en/art/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/
    APA
    sutherland, david macbeth (1940). A Deeside Stackyard in Winter [Painting]. Royal Scottish Academy of Art - Architecture. https://topimpressionists.com/en/art/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/
    Chicago
    david macbeth sutherland. A Deeside Stackyard in Winter. 1940. Royal Scottish Academy of Art - Architecture. https://topimpressionists.com/en/art/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/
    Harvard
    sutherland, david macbeth (1940) A Deeside Stackyard in Winter. Royal Scottish Academy of Art - Architecture. Available at: https://topimpressionists.com/en/art/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/

    Look closely

    A Deeside Stackyard in Winter — david macbeth sutherland

    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. Look back at Don Diego de Acedo (after Diego Velázquez) (1911), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. david macbeth sutherland was about 57 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

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