Paper

Student Artwork Guide

E.44 Making an Attack

Name Class Date

Philip Connard, E.44 Making an Attack (1918). 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
Philip Connard topimpressionists.com/en/artists/philip-connard/
Artist’s dates
1875 – 1958
Painted
1918
Original size
61 x 51 cm

In context

E.44 Making an Attack — Philip Connard

How big is it?

The original measures 61 × 51 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1870
  2. 1880
  3. 1890
  4. 1900
  5. 1910
  6. 1920
  7. 1930
  8. 1940
  9. 1950

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 83 at death.

Painted when the artist was 43. The artist lived to 83. 6 of the 69 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Philip Connard (1875–1958) ▲ this work, 1918 every dated painting, decade by decade

First works: up to 1918 Main working years: 1918–1919 Late works: from 1919

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: topimpressionists.com/en/art/similar/philip-connard-e-44-making-an-attack-AQUJ89-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #2c2b2a

    Catalogued palette

    • #2C2B2A
    • #867868
    • #CABCAC
    • #4D4742

    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
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette 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
    Muted 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 Philip Connard over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 64.7%
    2. 2 Canada 20.6%
    3. 3 United States of America 8.8%
    4. 4 Spain 2.9%
    5. 5 United Kingdom 2.9%

    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 20 most looked-at works by Philip Connard

    1. 1 From HMS 'Caesar' HMS 'Superb' at Constantinople, HMS 'Lord Nelson' and the French 'Diderot' in the Distance with Seaforth Highlanders Marching along the Quay, 1919 16.7%
    2. 2 The Bandstand, 1918 5.6%
    3. 3 The Bathers 5.6%
    4. 4 British Warships at Constantinople, 1920 5.6%
    5. 5 A Talk on the Ramparts 5.6%
    6. 6 Sunset 5.6%
    7. 7 St George's Day Bridge of HMS 'Canterbury', on Patrol Work when the Great Naval Raid on Zeebrugge and Ostend Took Place, 1918 2.8%
    8. 8 The Guns of HMS 'Caesar' Off Constantinople, Looking towards the Golden Horn, 1919 2.8%
    9. 9 A Destroyer in a Heavy Sea From HMS 'Melampus', 1918 2.8%
    10. 10 The Harwich Force at Sea, 1918 2.8%
    11. 11 The Destruction of an Airship off the Frisian Coast, 11 August 1918, 1918 2.8%
    12. 12 Lowering the Whaler HMS 'Coventry', 1918 2.8%
    13. 13 Sailor on the Bridge, 1918 2.8%
    14. 14 Trout Stream, 1942 2.8%
    15. 15 Cloud Shadows, 1918 2.8%
    16. 16 HMS 'Danaë', 1918 2.8%
    17. 17 Philip Connard, 1920 2.8%
    18. 18 HMS 'Curlew', 1918 2.8%
    19. 19 Still Life with Crockery, 1920 2.8%
    20. E.44 Making an Attack, 1918 this painting 0.0%

    Together these works take 81.1% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 97 works by this artist, of which 26 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

    Philip Connard

    A Life Painted in Light: The Story of Philip Connard

    Philip Connard (1875-1958) emerged from humble beginnings to become a celebrated British painter, his canvases imbued with a romantic sensibility and a remarkable versatility that spanned decorative landscapes, poignant war art, and grand mural commissions. Born in Southport, Lancashire, Connard’s early life offered little indication of the artistic path he would forge. He initially entered the building trade as a house painter, a practical occupation that nonetheless fostered an appreciation for form, color, and meticulous detail—qualities that would later define his work. However, a burgeoning passion for art led him to evening classes, culminating in a scholarship to the Royal College of Art in London, where he specialized in textile design. A small prize of £100 allowed a brief sojourn to Paris, though financial constraints curtailed his time there, it nonetheless provided an initial taste of the European artistic milieu.

    Upon returning to London, Connard established himself as an illustrator before securing a teaching position at Lambeth School of Art. This period proved pivotal, not only for his professional development but also for nurturing a new generation of artists, including Edmund Blampied. It was during these years that Connard’s distinctive style began to coalesce—romantic landscapes populated with graceful figures, often pierettes or birds, rendered in oils with an airy lightness and individual conception. He submitted works to the New English Art Club, gaining recognition for his evocative compositions.

    From Battlefield Sketches to Royal Commissions

    The outbreak of World War I dramatically altered Connard’s trajectory. Despite being nearly forty years old, he volunteered for service, joining the Royal Field Artillery as a private and rising to the rank of Captain before being invalided out due to severe shell shock. This experience profoundly impacted his artistic vision. Appointed an official war artist to the Royal Navy, Connard documented scenes of naval conflict with a newfound intensity and emotional depth. His sketches and paintings captured the drama of battles, most notably the surrender of the German ship SMS Goeben and the daring Zeebrugge raid—works that now reside in the Imperial War Museum, London, serving as powerful visual records of a tumultuous era. This period marked a shift from idyllic landscapes to scenes imbued with patriotism and sacrifice.

    Connard’s wartime service propelled him into a realm of prestigious commissions. He secured contracts for murals at Windsor Castle, large panels for a ballroom in New Delhi, and perhaps his most significant undertaking: a substantial panel depicting England for the opulent RMS Queen Mary liner. These projects showcased his mastery of decorative painting and his ability to translate grand narratives onto monumental surfaces. His work during this time was characterized by a refined elegance and a meticulous attention to detail, reflecting both classical influences and a distinctly British aesthetic sensibility.

    Recognition and Legacy

    The accolades followed in quick succession. Connard was elected an associate of the Royal Academy in 1918 and became a full Academician in 1925. He further served as Keeper of the Royal Academy school from 1945 to 1949, guiding aspiring artists and shaping the future direction of British art. In 1950, he was appointed a Commander of the Royal Victorian Order, acknowledging his significant contributions to the artistic landscape. Throughout his career, Connard’s work found its way into esteemed collections including the Tate Gallery in London, the Musée d’Orsay in Paris, and the National Museum of Wales.

    Influences: While not explicitly aligned with a single movement, Connard's work demonstrates an affinity for Impressionism, particularly in his use of light and color. He also drew inspiration from classical traditions and the decorative arts.

    Key Characteristics: Romantic landscapes, graceful figures, meticulous detail, atmospheric perspective, patriotic themes (particularly during wartime), and a refined elegance.

    Major Achievements: Official War Artist to the Royal Navy, murals at Windsor Castle, panel for RMS Queen Mary, election to the Royal Academy, Keeper of the Royal Academy school.

    Philip Connard’s story is one of resilience, artistic evolution, and unwavering dedication. He rose from modest origins to achieve prominence through talent, hard work, and a willingness to embrace new challenges. His paintings continue to captivate audiences with their beauty, emotional resonance, and enduring testament to the power of art to reflect both the triumphs and tragedies of human experience. He remains a significant figure in British Impressionism, celebrated for his evocative landscapes and his poignant contributions to wartime artistry.

    Where to read more

    • The artist Philip Connard topimpressionists.com/en/artists/philip-connard/
    • Similar works More works to compare topimpressionists.com/en/art/similar/philip-connard-e-44-making-an-attack-AQUJ89-en/

    Find this online

    QR code linking to the download page for E.44 Making an Attack

    topimpressionists.com/en/art/download/philip-connard-e-44-making-an-attack-AQUJ89-en/

    Cite this artwork

    MLA
    Connard, Philip. E.44 Making an Attack. 1918, https://topimpressionists.com/en/art/philip-connard-e-44-making-an-attack-AQUJ89-en/
    APA
    Connard, Philip (1918). E.44 Making an Attack [Painting]. https://topimpressionists.com/en/art/philip-connard-e-44-making-an-attack-AQUJ89-en/
    Chicago
    Philip Connard. E.44 Making an Attack. 1918. https://topimpressionists.com/en/art/philip-connard-e-44-making-an-attack-AQUJ89-en/
    Harvard
    Connard, Philip (1918) E.44 Making an Attack. Available at: https://topimpressionists.com/en/art/philip-connard-e-44-making-an-attack-AQUJ89-en/

    Look closely

    E.44 Making an Attack — Philip Connard

    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. How many faces can you find? ____ (our catalogue counts 3 — do you agree?)
    4. Look back at Albert Emil Davies (1875–1950) (1940), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Philip Connard was about 43 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.

    Questions & Answers

    What is the dominant hue of "E.44 Making an Attack" by Philip Connard?

    A golden yellow range hue runs through "E.44 Making an Attack" by Philip Connard.

    How light is "E.44 Making an Attack" overall?

    Overall, "E.44 Making an Attack" is recorded as deep_shadow. Perceived brightness describes how light or dark the work appears.

    What is the dominant color of "E.44 Making an Attack" by Philip Connard?

    The color that stands out most in "E.44 Making an Attack" is phthalo green (#2c2b2a). The dominant color is useful when matching an artwork to an interior.