In a Welsh Pine Wood

ca. 1891

Not on view

Born in Birmingham, then based in Liverpool, Watts specialized in painting woodland landscapes at different seasons, using oils or watercolors. His approach was shaped by the writings of John Ruskin and an admiration for the tenets of the Pre-Raphaelites. This work, which may have been shown at London’s Royal Academy in 1891, uses dappled touches of watercolor to describe strongly lit trees, autumn leaves, and moss-covered rocks. The vibrant washes appear unmuted by blotting, with brilliant hues cleanly juxtaposed—as in the blue and yellow strokes used to describe the mossy rock—a technique that is both painterly and sharply realistic.

Artwork Details

Title: In a Welsh Pine Wood
Artist: James Thomas Watts (British, Birmingham 1850–1930 Liverpool)
Date: ca. 1891
Medium: Watercolor over graphite with gum arabic and reductive techniques
Dimensions: 9 7/8 x 13 3/4 in. (25.1 x 34.9 cm)
Classification: Drawings
Credit Line: Susan H. Seidel Gift, Chester Dale Bequest, by exchange, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 2000
Object Number: 2000.311
Curatorial Department: Drawings and Prints

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The Lake of Zug, Joseph Mallord William Turner British, Watercolor and bodycolor (gouache) with reductive techniques over graphite — The Lake of Zug
Joseph Mallord William Turner
1843

Sabrina, Samuel Palmer British, Watercolor and gouache (bodycolor) over graphite, with reductive techniques, shell gold and gum arabic — Sabrina
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Loggia of the Ducal Palace, Venice, John Ruskin British, Watercolor over graphite — Loggia of the Ducal Palace, Venice
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Lady Lilith, Dante Gabriel Rossetti British, Watercolor and gouache (bodycolor) — Lady Lilith
Dante Gabriel Rossetti
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1867

The Entombment, Sir Edward Burne-Jones British, Green, blue, brown and touches of reddish bodycolor, heightened with white gouache (bodycolor) on green paper — The Entombment
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1879

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