Student Artwork Guide — The Dubliners

Name Class Date

Robert Colquhoun, The Dubliners (1946). 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: Robert Colquhoun topimpressionists.com/en/artists/robert-colquhoun/
Artist’s dates: 1914 – 1962
Painted: 1946
Original size: 76 x 61 cm

Copyright This work is still under copyright. Robert Colquhoun died in 1962; copyright lasts 70 years after the artist’s death, so it remains in force until 2032. The image is shown here for classroom reference; rights remain with the rights holder.

The Dubliners — Robert Colquhoun

How big is it?

The original measures 76 × 61 cm (height × width), drawn here beside an adult of average height.

When was this painted?

1910
1920
1930
1940
1950
1960

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 48 at death.

Painted when the artist was 32. The artist lived to 48. 12 of the 31 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Robert Colquhoun (1914–1962) ▲ this work, 1946 every dated painting, decade by decade

Compare with

The Students, 1947 topimpressionists.com/en/art/robert-colquhoun-the-students-AQS34E-en/
Woman and Goat, 1948 topimpressionists.com/en/art/robert-colquhoun-woman-and-goat-AQS33J-en/
Woman in a Blue Hat, 1947 topimpressionists.com/en/art/robert-colquhoun-woman-in-a-blue-hat-AQS33G-en/

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/robert-colquhoun-the-dubliners-AQS334-en/

Colours

Measured from the image

Main colour

Walnut #775329

Catalogued palette

#775329
#201F21
#34312F
#8E7959

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: Walnut
Intensity: Balanced 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: Balanced Harmony 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 Robert Colquhoun over the last twelve months — 2 countries in all. Where these figures come from

The ten leading countries

1 China 92.9%
2 United Kingdom 7.1%

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 9 most looked-at works by Robert Colquhoun

1 The Goatherd, 1948 21.4%
2 Woman in a Blue Hat, 1947 14.3%
3 The Dubliners, 1946 this painting 14.3%
4 Thea Neu, 1943 14.3%
5 Marrowfield, Worcestershire, 1941 7.1%
6 Boy with a Basket, 1949 7.1%
7 Two Irish People, 1947 7.1%
8 The Fortune Teller, 1946 7.1%
9 Girl and Pig 7.1%

Together these works take 99.8% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 35 works by this artist, of which 9 were looked at at least once. This painting ranks 3 of them, with 14.3% of that attention. 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

Robert Colquhoun

Born in Kilmarnock, United Kingdom

Robert Colquhoun: A Visionary Painter of Isolation and Expression

Robert Colquhoun (1914–1962) stands as a pivotal figure in British art of the mid-century, recognized for his distinctive expressionist style—characterized by stark contrasts of color, simplified forms, and an unflinching portrayal of human emotion. Born in Kilmarnock, Scotland, he possessed an innate artistic sensibility nurtured by early exposure to the landscapes of Ayrshire, which would profoundly inform his visual vocabulary. His formal education at Glasgow School of Art cemented a lifelong partnership with fellow artist Robert MacBryde, forging a creative alliance that shaped their careers and intellectual discourse.

Early Influences & Artistic Formation: Colquhoun’s formative years were marked by an immersion in rural Ayrshire's vibrant hues and textures—a connection that translated into his initial paintings depicting agricultural laborers and workmen with remarkable sensitivity. These early works demonstrated a nascent understanding of color theory and compositional balance, foreshadowing the stylistic developments to come.

The MacBryde Collaboration & Parisian Exploration: The meeting at Glasgow School of Art initiated a symbiotic relationship with MacBryde that extended beyond artistic collaboration into personal companionship. Together they embarked on a transformative journey to France and Italy in 1937–39, absorbing the influence of Picasso’s cubism and experimenting with innovative techniques. This period solidified their commitment to abstraction and established them as artists deeply attuned to the intellectual currents of their time.

World War II Service & London Studio Life

Military Engagement: During World War II, Colquhoun served as an ambulance driver in the Royal Army Medical Corps, experiencing firsthand the anxieties and hardships of wartime. This experience undoubtedly deepened his understanding of human vulnerability and contributed to the melancholic tone that permeates much of his oeuvre.

Collaborative Studio Space & Artistic Circle: Following the war, Colquhoun relocated to London and shared studio space with MacBryde, Jankel Adler, and John Minton—forming a vibrant artistic community centered around Bedford Gardens. This environment fostered intellectual exchange and fueled their creative output, attracting influential figures like Michael Ayrton, Francis Bacon, Lucian Freud, Dylan Thomas, and George Barker.

Theatre Design & Artistic Recognition

Stagecraft Contributions: Colquhoun’s artistic talents extended beyond painting into theatre design. He collaborated extensively with MacBryde on productions of Macbeth and King Lear at Stratford-upon-Avon, as well as Donald of the Burthens for Sadler's Wells Ballet, demonstrating his versatility and commitment to visual storytelling.

Critical Acclaim & Galerie Lefevre: Throughout the 1940s and early 1950s, Colquhoun achieved considerable acclaim within the British art world. His work was regularly showcased at Galerie Lefevre in London, securing his reputation as one of the foremost artists of his generation.

Mature Style & Legacy

Expressionist Vision: Colquhoun’s mature style embraced a powerfully expressive aesthetic—characterized by bold color palettes and simplified geometric forms. He relentlessly pursued themes of isolation, anguish, and psychological complexity, reflecting the anxieties of postwar Europe.

Printmaking & Continuing Influence: Colquhoun was a prolific printmaker, producing numerous lithographs and monotypes that further explored his artistic ideas. His work continues to resonate with contemporary artists and scholars alike, serving as an enduring testament to his singular vision and contribution to British art history.

His oeuvre remains a poignant reflection of the human condition—a haunting exploration of emotion conveyed through masterful technique and imbued with the indelible mark of Ayrshire’s landscape. Robert Colquhoun's legacy endures not merely as an artist but as a symbol of artistic integrity and unwavering dedication to conveying profound psychological truths.

Where to read more

The artist Robert Colquhoun topimpressionists.com/en/artists/robert-colquhoun/
Similar works More works to compare topimpressionists.com/en/art/similar/robert-colquhoun-the-dubliners-AQS334-en/

Find this online

QR code linking to the download page for The Dubliners

topimpressionists.com/en/art/download/robert-colquhoun-the-dubliners-AQS334-en/

Cite this artwork

MLA: Colquhoun, Robert. The Dubliners. 1946, https://topimpressionists.com/en/art/robert-colquhoun-the-dubliners-AQS334-en/
APA: Colquhoun, Robert (1946). The Dubliners [Painting]. https://topimpressionists.com/en/art/robert-colquhoun-the-dubliners-AQS334-en/
Chicago: Robert Colquhoun. The Dubliners. 1946. https://topimpressionists.com/en/art/robert-colquhoun-the-dubliners-AQS334-en/
Harvard: Colquhoun, Robert (1946) The Dubliners. Available at: https://topimpressionists.com/en/art/robert-colquhoun-the-dubliners-AQS334-en/

The Dubliners — Robert Colquhoun

Look closely

Answer in your own words. There are no wrong answers here — only answers you can explain.

What catches your eye first, and why?
Which colours or shapes create the mood — and what is that mood?
Look back at The Students (1947), earlier in this guide. Name two things it shares with this work, and one that is different.
Robert Colquhoun was about 32 when this was made. What in it looks like the work of an artist at that stage?
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.

Questions & Answers

What is the color identity of "The Dubliners" by Robert Colquhoun?

"The Dubliners" is defined by an earthy palette led by walnut (#775329).

What are the format and size of "The Dubliners"?

"The Dubliners" by Robert Colquhoun is a portrait composition measuring 76 x 61 cm in the original.

How can I get a print of "The Dubliners" by Robert Colquhoun?

To get a print of "The Dubliners" by Robert Colquhoun, simply order it on its Fine Art Print page: a fine art print on cotton canvas or archival canvas paper.