Dr James Cromar Watt (d.c.1941), LLD er maleriet David Macbeth Sutherland er mest kjent for. Don Diego de Acedo (after Diego Velázquez) (1911) og The Painting Student (1920) fullfører trioen av de mest elskede maleriene. Vår katalog inneholder 26 verk av David Macbeth Sutherland. Her er de 26 mest kjente, med årstall, museum og historien bak hvert lerret.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert November 2026.
De 3 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av David Macbeth Sutherland | Malerier fra denne listen |
|---|---|---|---|
| Edinburgh | 4 | Don Diego de Acedo (after Diego Velázquez), Breton Peasant, James Cowie (1886–1956), RSA | |
| London | 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, etterfulgt av Don Diego de Acedo (after Diego Velázquez) (1911) og 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 og Flower Piece. Hvert lerret i rangeringen ovenfor er oppgitt med årstall og museum.
26 verk av David Macbeth Sutherland finnes i vår katalog, datert fra 1911 til 1950.
Hovedsakelig i Royal Scottish Academy of Art - Architecture (Edinburgh), The Fleming Collection (London) og Wick Town Hall (Wick); listen ovenfor navngir hvert museum og deres lerreter.
I 1920s, som utgjorde 6 av de 26 verkene på denne siden, var The Painting Student blant dem.
Det eldste lerretet her er fra Don Diego de Acedo (after Diego Velázquez) (1911); det nyeste er fra The Breakwater, Stonehaven Harbour, Kincardinshire (1950).
Impressionism, som lerretet på denne siden viser.
Royal Scottish Academy of Art - Architecture, Edinburgh har 4 av verkene på denne siden, inkludert Don Diego de Acedo (after Diego Velázquez), Breton Peasant og James Cowie (1886–1956), RSA.
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.