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Student Artwork Guide

Skipping

Name Class Date

Frederick Morgan, Skipping (1896). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Frederick Morgan artsdot.com/en/artists/frederick-morgan/
Artist’s dates
1847 – 1927
Painted
1896

In context

Skipping — Frederick Morgan

When was this painted?

  1. 1840
  2. 1850
  3. 1860
  4. 1870
  5. 1880
  6. 1890
  7. 1900
  8. 1910
  9. 1920

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 80 at death.

Painted when the artist was 49. The artist lived to 80. 2 of the 7 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Frederick Morgan (1847–1927) ▲ this work, 1896 every dated painting, decade by decade

Compare with

  • A Jovial Fisherman artsdot.com/en/art/frederick-morgan-a-jovial-fisherman-8LHUSW-en/
  • Hold Tight artsdot.com/en/art/frederick-morgan-hold-tight-8LHUTA-en/
  • The Flower Gatherer artsdot.com/en/art/frederick-morgan-the-flower-gatherer-8LHUTT-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: artsdot.com/en/art/similar/frederick-morgan-skipping-8LHUTM-en/

Colours

Measured from the image

    Main colour

    Putty #c9c7bd

    Catalogued palette

    • #C9C7BD
    • #251714
    • #6F533B
    • #B39D77

    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
    Putty
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement 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
    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 Frederick Morgan over the last twelve months — 10 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 61.5%
    2. 2 United States of America 7.7%
    3. 3 Armenia 3.8%
    4. 4 Canada 3.8%
    5. 5 Colombia 3.8%
    6. 6 United Kingdom 3.8%
    7. 7 Mexico 3.8%
    8. 8 New Zealand 3.8%
    9. 9 Portugal 3.8%
    10. 10 Singapore 3.8%

    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 20 most looked-at works by Frederick Morgan

    1. 1 Charity 9.4%
    2. 2 bob apple 9.4%
    3. 3 his first birthday 9.4%
    4. 4 Sunny Hours, 1902 6.2%
    5. 5 a day on the river 6.2%
    6. 6 Picking wild flowers 6.2%
    7. 7 sweethearts 6.2%
    8. 8 Love Me, Love My Dog 3.1%
    9. 9 The Flower Gatherer 3.1%
    10. 10 Gentle Reminder 3.1%
    11. 11 Dainty Fares, 1905 3.1%
    12. 12 the apple gatherers 3.1%
    13. 13 Yuletide 3.1%
    14. 14 See Saw, 1898 3.1%
    15. 15 Gleaners, 1880 3.1%
    16. 16 Ring of Roses 3.1%
    17. 17 The Toy Parade 3.1%
    18. 18 nevermind 3.1%
    19. 19 Garden of Eden, 1891 3.1%
    20. Skipping, 1896 this painting 0.0%

    Together these works take 90.2% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 77 works by this artist, of which 22 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

    Frederick Morgan

    Frederick Morgan: Painter of Childhood’s Gentle Echoes

    Frederick Morgan (1847 – 3 April 1927) wasn't merely a painter; he was a weaver of idyllic scenes, a chronicler of childhood innocence captured with an almost heartbreaking tenderness. Born in London amidst the bustle of Victorian England, his artistic journey began not through formal training but through the tutelage of his father, John Morgan – a genre artist himself – who instilled within him a profound appreciation for observing and depicting everyday life. This formative influence shaped Morgan’s distinctive style: a delicate balance between realism and romanticism, where the mundane transformed into moments of quiet beauty.

    Morgan's early years were marked by a shift from his father’s guidance to a period of self-discovery. Following a brief stint in various London trades after his father’s advice, he returned to art, honing his skills through portrait commissions that unexpectedly provided invaluable experience. These portraits demanded meticulous attention to detail and an understanding of human expression – skills that would later inform his genre paintings. It was during this time that Morgan developed a keen eye for capturing the nuances of emotion and the subtle gestures that defined character, elements he skillfully translated into his celebrated depictions of children.

    The Shere Years: A Sanctuary of Light and Color

    A pivotal period in Morgan’s career unfolded in the village of Shere, nestled near Guildford in Surrey. This picturesque location became a sanctuary—a place where he could dedicate himself entirely to painting scenes of rural life and, most notably, children at play. The light in Shere was particularly conducive to his artistic vision; it bathed the landscapes in a soft, golden glow that perfectly complemented his palette of muted colors and delicate brushstrokes. He established a studio there, creating a space where he could immerse himself in the rhythms of rural life, observing families, children, and animals with an almost reverent gaze.

    During this period, Morgan’s output flourished, producing some of his most beloved works – The Doll’s Tea Party, Emigrants' Departure, and School Belles among them. These paintings weren’t simply representations of scenes; they were imbued with a palpable sense of warmth, nostalgia, and quiet joy. He captured the fleeting moments of childhood—a shared game, a stolen glance, a simple pleasure—with an extraordinary sensitivity that resonated deeply with audiences. The patronage of Thomas Agnew & Sons further solidified his success, ensuring that his paintings reached a wide audience through widespread reproduction.

    Influences and Artistic Style

    Morgan’s artistic style was profoundly influenced by the prevailing trends of Victorian England, particularly the popularity of genre painting. However, he possessed a unique sensibility that set him apart from his contemporaries. He drew inspiration from artists like Arthur John Elsley, whose own depictions of children shared a similar emphasis on sentimentality and idyllic beauty. Yet, Morgan’s work retained its own distinct character—a subtle melancholy beneath the surface of happiness, a quiet awareness of the transience of childhood.

    His technique was characterized by meticulous detail, soft brushstrokes, and a masterful use of light and shadow. He employed a limited palette of muted colors – browns, greens, blues, and yellows—to create a sense of atmosphere and to evoke the feeling of a bygone era. Notably, Morgan often sought assistance from artists like Arthur John Elsley or Allen Sealey when depicting challenging subjects such as animals or pets, recognizing the importance of accurate representation in capturing the essence of his scenes.

    Legacy and Recognition

    Frederick Morgan’s paintings achieved remarkable popularity during his lifetime, enjoying widespread publication and exhibition. His works are now housed in prestigious collections around the world, including the Walker Art Gallery in Liverpool and the Russell-Cotes Museum in Bournemouth. His legacy as one of the most celebrated genre painters of the Victorian era endures, not only for his technical skill but also for his ability to capture the enduring beauty and innocence of childhood—a timeless theme that continues to resonate with viewers today.

    Morgan’s impact extends beyond his artistic achievements. He represents a significant chapter in the history of British art, demonstrating how artists can find inspiration in everyday life and transform it into works of lasting value. His paintings serve as a poignant reminder of a simpler time—a time when childhood was viewed with such reverence and wonder.

    Where to read more

    Find this online

    QR code linking to the download page for Skipping

    artsdot.com/en/art/download/frederick-morgan-skipping-8LHUTM-en/

    Cite this artwork

    MLA
    Morgan, Frederick. Skipping. 1896, https://artsdot.com/en/art/frederick-morgan-skipping-8LHUTM-en/
    APA
    Morgan, Frederick (1896). Skipping [Painting]. https://artsdot.com/en/art/frederick-morgan-skipping-8LHUTM-en/
    Chicago
    Frederick Morgan. Skipping. 1896. https://artsdot.com/en/art/frederick-morgan-skipping-8LHUTM-en/
    Harvard
    Morgan, Frederick (1896) Skipping. Available at: https://artsdot.com/en/art/frederick-morgan-skipping-8LHUTM-en/

    Look closely

    Skipping — Frederick Morgan

    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. How many faces can you find? ____ (our catalogue counts 2 — do you agree?)
    4. Look back at A Jovial Fisherman, earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Frederick Morgan was about 49 when this was made. What in it looks like the work of an artist at that stage?

    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

    How saturated is the palette of "Skipping"?

    The palette of "Skipping" is subtle color in saturation.

    Can I see "Skipping" by Frederick Morgan on my own wall before buying?

    "Skipping" by Frederick Morgan can be previewed on your own wall with the artwork's AR Preview page, using augmented reality on a compatible device.

    How do contrast and harmony combine in "Skipping"?

    In "Skipping", a statement contrast is paired with a balanced harmony harmony.