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Student Artwork Guide

Playing Marbles

Name Class Date

Raymond James Coxon, Playing Marbles (1928), Courtauld Gallery. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Raymond James Coxon artsdot.com/en/artists/raymond-james-coxon/
Artist’s dates
1896 – 1997
Painted
1928
Medium
Acrylic On Canvas
Original size
51 x 60 cm
Movement
Landscape & Portrait Painting
Held at
Courtauld Gallery artsdot.com/en/museums/courtauld-gallery-london/
Artistic style
Abstract Works
Influences
Masaccio
Notable elements or techniques
Bold figures
Subject or theme
Childhood innocence

In context

Playing Marbles — Raymond James Coxon

How big is it?

The original measures 51 × 60 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940
  7. 1950
  8. 1960
  9. 1970
  10. 1980
  11. 1990

Shaded: the lifetime of Raymond James Coxon (1896–1997) ▲ this work, 1928

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/raymond-james-coxon-playing-marbles-AQSE2Z-en/

Colours

Measured from the image

    Main colour

    Driftwood #a98b6d

    Catalogued palette

    • #A98B6D
    • #74614F
    • #4E4842
    • #333131
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Driftwood
    Intensity
    Monochromatic 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
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Playing Marbles — Raymond James Coxon

    Playing Marbles - A Portrait of Childhood Innocence

    Raymond James Coxon’s “Playing Marbles,” completed in 1928, stands as a testament to the enduring fascination with capturing fleeting moments of human experience—specifically, the carefree joy of childhood. Executed in oil on panel, this artwork embodies the stylistic hallmarks of Landscape & Portrait Painting and Abstract Works, reflecting Coxon's evolving artistic sensibilities throughout his prolific career. The painting depicts children engrossed in a game of marbles in what appears to be an outdoor setting – likely a garden or courtyard – capturing a scene brimming with youthful energy and camaraderie.

    Composition and Technique

    Coxon’s masterful brushwork contributes significantly to the artwork's emotive power. Thick impasto—a technique where paint is applied thickly onto the surface—creates textural richness, emphasizing the rough earth beneath the children’s feet and conveying a palpable sense of immediacy. The artist employs a muted palette dominated by earthy tones – browns, greens, and ochres – mirroring the natural environment and fostering a feeling of tranquility. Careful attention to detail is evident in the depiction of the boys' faces, capturing expressions of concentration and delight as they manipulate their marbles. Coxon’s use of light and shadow subtly enhances the scene’s atmosphere, casting soft illumination on the figures and highlighting the contours of their bodies.

    Historical Context: The Jazz Age Aesthetic

    Playing Marbles” aligns itself with the broader artistic trends of the Jazz Age (1920s), a period characterized by optimism, experimentation, and a rejection of Victorian conventions. Artists like Coxon embraced bold forms and expressive brushstrokes as a reaction against academic realism—a stylistic shift that prioritized emotional resonance over meticulous representation. The artwork’s subject matter – children at play – speaks to the humanist values prevalent during this era, reflecting a desire to celebrate human connection and spontaneity.

    Symbolism: Representing Playful Curiosity

    Beyond its formal qualities, “Playing Marbles” carries symbolic significance. The game itself represents curiosity, exploration, and engagement with the world around us—themes that resonate deeply within the depiction of youthful innocence. The marbles themselves can be interpreted as symbols of potential, aspiration, and the simple pleasures of life. Coxon’s deliberate choice of subject matter underscores the importance of preserving childhood memories and celebrating the beauty of everyday experiences.

    Emotional Impact: A Snapshot of Happiness

    Ultimately, “Playing Marbles” succeeds in conveying a profound emotional impact—a feeling of warmth, contentment, and uncomplicated joy. The artist's skillful rendering captures not just the visual appearance of the scene but also its intangible essence. Viewers are transported back to a time of carefree laughter and unburdened imagination, reminding us of the enduring value of childhood wonder. Coxon’s masterpiece remains an evocative reminder that art can illuminate the most fundamental aspects of human experience.

    Artist: Raymond James Coxon

    Year Created: 1928

    Medium: Oil on Panel

    Dimensions: 51 x 60 cm

    Location: The Courtauld, London (Samuel Courtauld Trust)

    Provenance: Gift from Samuel Courtauld, 1932

    Further Research: Explore Art UK | Discover Artworks:

    Artist and museum

    Artist

    Raymond James Coxon

    Born in Hanley, United Kingdom

    A Century of Vision: The Life and Legacy of Raymond James Coxon

    The history of twentieth-century British art is often told through the lens of sudden movements and radical shifts, yet few lives embody the enduring spirit of artistic evolution as profoundly as that of Raymond James Coxon. Born in Hanley, Staffordshire, in 1896, Coxon’s journey was one of remarkable longevity and stylistic breadth, spanning nearly a full century of creative exploration. His life was shaped by the tumultuous tides of history, from the harrowing experiences of the Great War to the quiet, contemplative moments of post-war reconstruction. This vast temporal canvas allowed him to witness—and participate in—the transformation of the British aesthetic landscape, moving from the rigorous classical foundations of his youth toward a more nuanced and experimental modernism.

    Coxon’s artistic identity was forged in the prestigious halls of the Leeds School of Art and the Royal College of Art. It was during these formative years that he developed a deep-seated respect for technical mastery, a trait nurtured under the guidance of influential figures such as Sir William Rothenstein. His early academic achievements were nothing short of ambitious; his diploma submission, a monumental mural inspired by Masaccio’s Expulsion from Paradise, revealed a young artist capable of grappling with grand, classical narratives and complex human emotion. This period was also marked by significant social connections, most notably a friendship with the legendary sculptor Henry Moore, which placed Coxon within a vibrant circle of artists who would redefine the boundaries of British sculpture and painting.

    From the Battlefield to the Canvas

    The trajectory of Coxon’s career was irrevocately altered by his service in the Machine Gun Corps during World War I. While the conflict brought immense hardship, it also provided a unique, visceral perspective that would forever inform his observational skills. Serving within the cavalry section, Coxon utilized watercolor miniatures to document the fleeting, often brutal realities of the front lines. These small-scale works served as intimate windows into a world in chaos, demanding a precision and an ability to capture atmosphere that would later become hallmarks of his broader repertoire. This period of documentation instilled in him a profound sense of the importance of the "moment"—the ability to freeze time through the tip of a brush.

    As the decades progressed, Coxon’s work began to reflect a fascinating departure from purely representational forms. While he remained deeply rooted in the traditions of landscape and portraiture, there was an unmistakable pull toward abstraction. His landscapes, such as the evocative Dewpond, Surrey, demonstrate a masterful command over light and topography, yet they also hint at a deeper, more structural understanding of the natural world. Similarly, his portraits, exemplified by the elegant Model Resting, showcase a sophisticated use of tone and form to convey character and presence, blending the classical discipline of his training with a modern sensibility for texture and space.

    An Enduring Artistic Impression

    The significance of Raymond James Coxon lies not only in the breadth of his subject matter but in his ability to remain relevant across shifting artistic epochs. His oeuvre serves as a bridge between the traditionalist values of the late Victorian era and the experimental spirit of the mid-twentieth century. Whether capturing the rugged beauty of Tremadoc or exploring the complexities of the human figure, Coxon’s work remains anchored by a sincere commitment to the craft of painting.

    To reflect on his life is to trace the evolution of British art itself:

    Technical Mastery: A foundation built upon classical principles and rigorous academic training.

    Historical Witness: An artist whose vision was sharpened by the direct experience of global conflict.

    Stylistic Versatility: A seamless transition from detailed watercolor miniatures to bold, abstract explorations.

    Lasting Influence: A legacy defined by a lifelong dedication to observing and interpreting the world around him.

    Through his landscapes, portraits, and abstract experiments, Coxon left behind a body of work that continues to resonate with those seeking the intersection of historical depth and timeless beauty.

    Museum

    Courtauld Gallery

    On show in London, United Kingdom

    A Sanctuary of Light: Exploring The Courtauld Gallery

    Nestled within the grand neoclassical embrace of Somerset House on London’s Strand, The Courtauld Gallery is more than a mere repository of masterpieces; it's an immersive journey into the heart of Impressionist and Post-Impressionist art. Founded in 1932 from the visionary collections assembled by Samuel Courtauld, Lord Lee of Fareham, and Sir Robert Witt, the gallery has blossomed into a world-renowned institution, inextricably linked to the esteemed Courtauld Institute of Art. Walking through its elegantly proportioned rooms feels akin to stepping back in time, encountering works that redefined artistic expression and continue to resonate with profound emotional power. The very existence of this space is a testament to private patronage transformed into a shared cultural treasure, reflecting a deep appreciation for beauty and innovation – a legacy that continues to shape our understanding of artistic heritage.

    The gallery’s strength lies not merely in the sheer quality of its holdings, but in their focused depth. Here, one can lose themselves in the shimmering light of Édouard Manet’s A Bar at the Folies-Bergère, a painting that captures not just a fleeting moment in time, but an entire atmosphere of Parisian nightlife – a subtle dance between observer and observed. Nearby, Vincent van Gogh’s intensely personal Self-Portrait with Bandaged Ear offers a raw and poignant glimpse into the artist’s troubled soul, its swirling brushstrokes mirroring his inner turmoil. Don't miss Cézanne’s still lifes and landscapes, pivotal studies in form and perception that fundamentally altered artistic thought; these works demonstrate a meticulous attention to detail and an exploration of light and shadow that laid the groundwork for modern art. The collection also boasts significant pieces by Renoir, Degas, Monet, Gauguin, Seurat, and countless others, each contributing to a rich tapestry of artistic styles and movements.

    Architectural Setting: A Dialogue Between Art and Space

    Somerset House, designed by William Chambers in the late 18th century, stands as a testament to neoclassical grandeur. Its elegant facades and spacious interiors provide a stunning backdrop for the art within, creating an atmosphere of refined beauty and intellectual stimulation. Sunlight streams through large windows, illuminating the canvases with a natural glow that enhances their colors and textures – a deliberate choice by curators to heighten the emotional impact of each piece. The building itself is a work of art, its soaring ceilings and symmetrical design mirroring the formality and elegance of the paintings it houses. The careful consideration given to light and space within the gallery contributes significantly to the overall experience, allowing visitors to fully immerse themselves in the works on display.

    A History Forged in Vision

    The Courtauld’s origins are deeply intertwined with the vision of Samuel Courtauld, a prominent industrialist and art collector. His initial gift of over 100 paintings in 1932 formed the foundation of what would become one of the world's leading Impressionist and Post-Impressionist collections. Subsequent bequests from Lord Lee, Sir Robert Witt, and numerous other benefactors have steadily expanded the gallery’s holdings, adding Old Master works, British drawings, and 20th-century art. The recent ‘Courtauld Connects’ redevelopment, completed in 2021, has not only modernized the building but also enhanced accessibility, ensuring that this extraordinary collection remains a vibrant resource for generations to come. The gallery's continued evolution reflects its commitment to both scholarship and public engagement – a delicate balance between preserving artistic heritage and making it accessible to all.

    Academic Focus: Where Art History Comes Alive

    What truly sets The Courtauld Gallery apart is its unique position as both a museum and an academic institution. As part of the Courtauld Institute of Art, it fosters a vibrant intellectual environment fueled by cutting-edge research and teaching. Current exhibitions, like the upcoming showcase of Wayne Thiebaud’s work, demonstrate this commitment to scholarly exploration and bringing fresh perspectives to established artists. The gallery is a place where art history comes alive, not just for academics but for anyone with a curious mind and an open heart. Lectures, workshops, and guided tours offer opportunities for deeper engagement with the collection, while ongoing research projects contribute to our understanding of Impressionist and Post-Impressionist art. The Courtauld’s role as a center for artistic scholarship ensures that its legacy will continue to inspire and inform artists and scholars alike.

    Additional Resources & Exploration

    Visit The Courtauld Gallery:

    https://courtauld.ac.uk/gallery/

    - Explore the gallery’s website for current exhibitions, events, and information about visiting hours.

    Courtauld Gallery – Wikipedia:

    https://en.wikipedia.org/wiki/Courtauld_Gallery

    - Delve deeper into the history and collection of this renowned institution.

    Museums Database:

    https://en.museumsconnect.eu/museum/courtauld-gallery-united-kingdom-london-en/

    – Discover more about the gallery’s mission, collections, and programs.

    Where to read more

    Find this online

    QR code linking to the download page for Playing Marbles

    artsdot.com/en/art/download/raymond-james-coxon-playing-marbles-AQSE2Z-en/

    Cite this artwork

    MLA
    Coxon, Raymond James. Playing Marbles. 1928, Courtauld Gallery. https://artsdot.com/en/art/raymond-james-coxon-playing-marbles-AQSE2Z-en/
    APA
    Coxon, Raymond James (1928). Playing Marbles [Painting]. Courtauld Gallery. https://artsdot.com/en/art/raymond-james-coxon-playing-marbles-AQSE2Z-en/
    Chicago
    Raymond James Coxon. Playing Marbles. 1928. Courtauld Gallery. https://artsdot.com/en/art/raymond-james-coxon-playing-marbles-AQSE2Z-en/
    Harvard
    Coxon, Raymond James (1928) Playing Marbles. Courtauld Gallery. Available at: https://artsdot.com/en/art/raymond-james-coxon-playing-marbles-AQSE2Z-en/

    Look closely

    Playing Marbles — Raymond James Coxon

    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. Our catalogue files this work under: children, marbles, dogs. Do you agree? What would you add, or take away?
    4. Look back at Midday (1927), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Raymond James Coxon was about 32 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.

    Art quiz

    Playing Marbles — Raymond James Coxon

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject matter depicted in ‘Playing Marbles’?

      • A A Landscape Scene Featuring Rolling Hills
      • B A Portrait of a Young Boy Playing with Marbles
      • C An Abstract Composition Exploring Geometric Forms
    2. 2. Raymond James Coxon was born in what city?

      • A London
      • B Paris
      • C Hanley
    3. 3. In which year was ‘Playing Marbles’ created?

      • A 1896
      • B 1928
      • C 1997
    4. 4. Coxon attended Leeds School of Art alongside Henry Moore. What is notable about their friendship?

      • A They collaborated on several ambitious artistic projects.
      • B Moore confessed his love for Coxon’s fiancée.
      • C They shared a passion for exploring the beauty of rural landscapes.
    5. 5. ‘Playing Marbles’ is housed in what museum?

      • A The British Museum
      • B The Tate Gallery
      • C The Louvre

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2C · 3B · 4B · 5A