Dr James Cromar Watt (d.c.1941), LLDは、デビッド・マッケビス・サザーランドの代表作として最もよく知られています。 Don Diego de Acedo (after Diego Velázquez) (1911)とThe Painting Student (1920)が加わり、最も愛されている3枚のキャンバスが揃いました。 デビッド・マッケビス・サザーランドによる作品は、当カタログに26点収められています。ここでは、制作年、所蔵美術館、そして各作品の背景とともに、最も有名な26点をご紹介します。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新:11月 2026
このページに掲載されている絵画を最も多く所蔵している 3 の美術館
| 美術館 | 都市 | デビッド・マッケビス・サザーランドの作品 | このリストの絵画 |
|---|---|---|---|
| エディンバラ | 4 | Don Diego de Acedo (after Diego Velázquez), Breton Peasant, James Cowie (1886–1956), RSA | |
| ロンドン | 4 | Breton Dancers, Concarneau, Bank Holiday, Portobello Beach, Breton Harvest | |
| Wick | 1 | General The Lord Horne of Stirkoke (1861–1929) |
Dr James Cromar Watt (d.c.1941), LLD、次いでDon Diego de Acedo (after Diego Velázquez) (1911)、そしてThe Painting Student (1920)。
Dr James Cromar Watt (d.c.1941), LLD, Don Diego de Acedo (after Diego Velázquez), The Painting Student, Captain Cromarty, The Demolition of the Crown Hotel, Edinburgh, General The Lord Horne of Stirkoke (1861–1929), Breton Peasant, Breton Dancers, Concarneau, Bank Holiday, Portobello Beach と Flower Piece。上記のランキングに掲載されている各キャンバスには、制作年と所蔵美術館が記載されています。
デビッド・マッケビス・サザーランドによる作品が26点、1911年から1950年にかけてのものがカタログに掲載されています。
主にRoyal Scottish Academy of Art - Architecture (エディンバラ), The Fleming Collection (ロンドン) と Wick Town Hall (Wick)に所蔵されています。上記のリストには、各美術館とその所蔵作品が記載されています。
このページに掲載されている全26作品のうち、6作品が1920sの作品であり、その中にはThe Painting Studentが含まれます。
ここにある最も古いキャンバスはDon Diego de Acedo (after Diego Velázquez) (1911)、最も新しいものはThe Breakwater, Stonehaven Harbour, Kincardinshire (1950)です。
このページに並ぶキャンバスが示す通り、Impressionism
Royal Scottish Academy of Art - Architecture, エディンバラには、このページに掲載されている作品のうち4点が所蔵されており、その中にはDon Diego de Acedo (after Diego Velázquez), Breton Peasant と James Cowie (1886–1956), RSAも含まれています。
Born in the rugged beauty of Wick, Caithness, David Macbeth Sutherland emerged as a profound voice in Scottish art, weaving together the textures of his homeland with a sophisticated, impressionistic sensibility. His journey from a student of law to a master of the brush is a testament to a deep-seated passion for visual storytelling. After moving to Edinburgh to work as an apprentice in a lithographic business, Sutherland found his true calling within the halls of the Royal Scottish Academy (RSA) and the Edinburgh College of Art. Under the guidance of mentors like Charles Mackie, he honed a technique that could oscillate between the delicate precision of watercolor and the evocative, textured depth of oil on canvas.
His early development was marked by a spirit of exploration, fueled by the prestigious RSA Carnegie Travelling Scholarship in 1911. This opportunity allowed him to wander through Spain, France, and the Netherlands, absorbing the light and atmosphere of the continent. These travels enriched his palette and expanded his vision, bringing a cosmopolitan flair back to the Scottish landscapes he so dearly loved. Alongside fellow artists, he became a pivotal figure in the revival of the Edinburgh Group, contributing to a vibrant era of artistic community and shared studio spaces in Edinburgh.
Sutherland’s oeuvre is a love letter to the varied terrains of Scotland and beyond. He possessed a remarkable ability to capture the ephemeral qualities of nature—the hazy mountains of Wester Ross, the serene greens of a quiet noon, and the shifting urban realities of Edinburgh. His work often transcends mere representation, utilizing impressionistic brushwork to evoke the emotional weight of a place. Whether depicting the ruggedness of Drambuie or the architectural transformations of his city, his paintings resonate with an intimate connection to the land.
Beyond the landscapes, Sutherland was also a gifted portraitist, capable of capturing the dignity and character of his subjects. His versatility allowed him to move seamlessly between the vastness of the outdoors and the focused intimacy of a studio portrait. This duality in his work—the ability to command both the grand scale of nature and the subtle nuances of human expression—cemented his reputation as a versatile and deeply perceptive artist.
The later years of Sutherland's life were defined by a significant commitment to the cultivation of future generations. His long tenure as the Director of Gray's School of Art in Aberdeen allowed him to shape the trajectory of art education in Scotland. This period of leadership was not merely administrative; it was an extension of his lifelong devotion to the arts. Even during the tumultuous years of World War II, his artistic spirit remained undimmed, serving as an Official War Artist and recording the poignant scenes of Newfoundland lumberjacks on Deeside.
Sutherland's historical significance lies in his ability to bridge the gap between traditional Scottish themes and modern impressionistic techniques. His life, marked by both personal bravery—having been awarded the Military Cross—and academic excellence, reflects a man who was as much a part of the history he painted as the landscapes themselves. Through his paintings and his teaching, the essence of the Scottish spirit continues to endure.