Paper
Name Class Date

David Macbeth Sutherland, A Deeside Stackyard in Winter (1940), Royal Scottish Academy of Art - Architecture. 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
David Macbeth Sutherland artsdot.com/en/artists/david-macbeth-sutherland/
Artist’s dates
1883 – 1973
Painted
1940
Original size
61 x 85 cm
Held at
Royal Scottish Academy of Art - Architecture artsdot.com/en/museums/royal-scottish-academy-of-art-architecture-edinburgh/

In context

A Deeside Stackyard in Winter — David Macbeth Sutherland

How big is it?

The original measures 61 × 85 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940
  8. 1950
  9. 1960
  10. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 90 at death.

Painted when the artist was 57. The artist lived to 90. 10 of the 17 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of David Macbeth Sutherland (1883–1973) ▲ this work, 1940 every dated painting, decade by decade

First works: up to 1924 Main working years: 1924–1940 Late works: from 1940

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: artsdot.com/en/art/similar/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/

Colours

Measured from the image

    Main colour

    Walnut #835c3a

    Catalogued palette

    • #835C3A
    • #9F7A54
    • #443121
    • #64442A

    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
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft 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 David Macbeth Sutherland over the last twelve months — 2 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 61.5%
    2. 2 United Kingdom 38.5%

    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 11 most looked-at works by David Macbeth Sutherland

    1. 1 Bank Holiday, Portobello Beach, 1932 30.8%
    2. 2 James Cowie (1886–1956), RSA, 1935 7.7%
    3. 3 Breton Dancers, Concarneau, 1924 7.7%
    4. 4 Breton Peasant, 1923 7.7%
    5. 5 War in the Forest Newfoundland Lumberjacks at Work in Scotland, 1940 7.7%
    6. 6 Drambuie, Wester Ross (recto) 7.7%
    7. 7 The Demolition of the Crown Hotel, Edinburgh, 1925 7.7%
    8. 8 Approach of Winter, Kincardineshire, 1949 7.7%
    9. 9 Barn Interior with a Woman Milking a Cow and a Man Entering a Barn 7.7%
    10. 10 Dr James Cromar Watt (d.c.1941), LLD 7.7%
    11. A Deeside Stackyard in Winter, 1940 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 26 works by this artist, of which 10 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

    David Macbeth Sutherland

    Born in Wick, United Kingdom

    A Life Captured in Light and Landscape

    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.

    The Soul of the Scottish Landscape

    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.

    Legacy and Artistic Leadership

    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.

    Museum

    Royal Scottish Academy of Art - Architecture

    On show in Edinburgh, United Kingdom

    Royal Scottish Academy - A Bastion of Scottish Creativity

    The Royal Scottish Academy stands as a singular institution—a testament to Scotland’s enduring artistic spirit nestled on Edinburgh's historic Mound, where tradition and innovation converge in a celebration of visual arts and architecture. Founded in 1826 by eleven artists seeking greater autonomy from established institutions, the RSA quickly cemented its position as a champion for Scottish talent and artistic excellence. Its story is one of evolution—from initial struggles for recognition to becoming today’s national beacon of creativity—a journey marked by groundbreaking exhibitions and an unwavering commitment to nurturing emerging artists.

    A Legacy of Masters:

    The Academy's collection boasts masterpieces spanning centuries, showcasing the brilliance of Scottish luminaries like James Guthrie, Joan Eardley, William Gillies, and John Philip Busby. Guthrie’s evocative landscapes capture the raw beauty of Scotland’s highlands, while Eardley’s portraits offer poignant glimpses into the lives of ordinary people—a reflection of the RSA's dedication to portraying authentic human experience.

    Architectural Grandeur:

    The RSA’s home is itself a masterpiece—the magnificent building on The Mound designed by William Henry Playfair in neoclassical style, completed in 1859. Its imposing façade exudes an air of artistic authority and timeless elegance, embodying the Academy's belief that architecture can inspire creativity and foster contemplation.

    The Weston Link Project:

    Recent renovations as part of the Weston Link Project have seamlessly integrated the RSA building with the Scottish National Gallery complex, creating a dynamic cultural destination—a space where visitors can explore art history alongside contemporary artistic endeavors.

    A Hub for Artistic Discourse:

    Throughout its history, the RSA has fostered critical dialogue and public engagement through annual exhibitions that showcase both established and emerging artists. These events serve as platforms for exploring pressing social issues and celebrating Scotland’s rich cultural heritage.

    Supporting Future Generations:

    The RSA actively supports aspiring architects and artists—providing awards, residencies, and professional development opportunities—ensuring that Scotland's creative future remains vibrant and innovative.

    Exploring the Collection Highlights

    The Academy’s collection encompasses a diverse range of artistic mediums—paintings, sculptures, drawings, and prints—representing movements from Romanticism to Modernism. Notable pieces include Guthrie’s “The Shepherd Boy,” capturing the rugged majesty of Scottish scenery; Eardley's portraits of rural Scotswomen, imbued with empathy and sensitivity; Gillies’ dramatic depictions of Scotland’s landscape during World War I; and Busby’s meticulous ornithological illustrations—a testament to his scientific rigor combined with artistic skill. Each artwork tells a story—reflecting the social, cultural, and intellectual currents of its time.

    The Playfair Building: An Architectural Jewel

    William Henry Playfair's building on The Mound is more than just a gallery; it’s an embodiment of neoclassical ideals—symmetry, grandeur, and proportion—designed to inspire awe and contemplation. Its hexastyle Ionic porticoes dominate the façade, symbolizing stability and intellectual enlightenment. Recent renovations have revitalized the interior spaces—creating comfortable viewing areas and enhancing accessibility for visitors—preserving this architectural landmark for future generations.

    Notable Exhibitions Throughout History

    From its founding in 1826, the RSA has been at the forefront of artistic innovation—hosting exhibitions that champion groundbreaking works and fostering critical discussion about art history. The Academy’s annual events have consistently attracted leading artists and scholars from across Scotland and internationally—solidifying its reputation as a vital force in shaping Scotland's cultural landscape. Exhibitions have explored themes ranging from Scottish identity to social justice—challenging viewers to confront complex issues and appreciate diverse perspectives.

    What Makes the RSA Unique?

    The RSA distinguishes itself through its unwavering commitment to fostering artistic excellence—supporting emerging artists, promoting architectural innovation, and preserving Scotland’s cultural heritage. Its independence from governmental influence ensures that it remains true to its core mission—celebrating creativity and nurturing talent—a legacy that continues to inspire artists and scholars alike. The RSA stands as a symbol of Scotland's enduring artistic spirit—a place where tradition meets innovation—and where the pursuit of beauty serves as a catalyst for intellectual engagement and social progress.

    Where to read more

    Find this online

    QR code linking to the download page for A Deeside Stackyard in Winter

    artsdot.com/en/art/download/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/

    Cite this artwork

    MLA
    Sutherland, David Macbeth. A Deeside Stackyard in Winter. 1940, Royal Scottish Academy of Art - Architecture. https://artsdot.com/en/art/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/
    APA
    Sutherland, David Macbeth (1940). A Deeside Stackyard in Winter [Painting]. Royal Scottish Academy of Art - Architecture. https://artsdot.com/en/art/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/
    Chicago
    David Macbeth Sutherland. A Deeside Stackyard in Winter. 1940. Royal Scottish Academy of Art - Architecture. https://artsdot.com/en/art/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/
    Harvard
    Sutherland, David Macbeth (1940) A Deeside Stackyard in Winter. Royal Scottish Academy of Art - Architecture. Available at: https://artsdot.com/en/art/david-macbeth-sutherland-a-deeside-stackyard-in-winter-AQSFWT-en/

    Look closely

    A Deeside Stackyard in Winter — David Macbeth Sutherland

    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. Look back at Don Diego de Acedo (after Diego Velázquez) (1911), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. David Macbeth Sutherland was about 57 when this was made. What in it looks like the work of an artist at that stage?
    5. 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

    Can the image of "A Deeside Stackyard in Winter" by David Macbeth Sutherland be freely reproduced?

    "A Deeside Stackyard in Winter" by David Macbeth Sutherland is still protected by copyright. This status governs how the image of the work may be reproduced.

    What is the dominant hue of "A Deeside Stackyard in Winter" by David Macbeth Sutherland?

    "A Deeside Stackyard in Winter" leans toward a golden yellow range tone.

    What are the dimensions of the original "A Deeside Stackyard in Winter" by David Macbeth Sutherland?

    "A Deeside Stackyard in Winter" measures 61 x 85 cm in its original form. Original dimensions are a useful reference when choosing a reproduction size.