Paper
Name Class Date

Sir William Russell Flint, miranda posing. 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
Sir William Russell Flint artsdot.com/en/artists/sir-william-russell-flint/
Artist’s dates
1880 – 1969
Original size
50 x 75 cm

In context

miranda posing — Sir William Russell Flint

How big is it?

The original measures 50 × 75 cm (height × width), drawn here beside an adult of average height.

When might this have been painted?

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

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 89 at death.

Shaded: the lifetime of Sir William Russell Flint (1880–1969) every dated painting, decade by decade

First works: up to 1928 Main working years: 1928–1935 Late works: from 1935

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

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

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/sir-william-russell-flint-miranda-posing-AS8535-en/

Colours

Measured from the image

    Main colour

    Walnut #783527

    Catalogued palette

    • #783527
    • #BA503A
    • #CC8272
    • #D7CCCE

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Balanced How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence 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 Sir William Russell Flint over the last twelve months — 4 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 62.5%
    2. 2 Canada 12.5%
    3. 3 United Kingdom 12.5%
    4. 4 Türkiye 12.5%

    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 7 most looked-at works by Sir William Russell Flint

    1. 1 Gitana Dancers Resting, Albaicin, Granada 23.1%
    2. 2 Negro Dancers – Victoria, Ora and Serafina 23.1%
    3. 3 Artemis and Chione, 1931 15.4%
    4. 4 Two Models by a Fountain 15.4%
    5. 5 The Four Singers of Vera, 1931 7.7%
    6. 6 miranda posing this painting 7.7%
    7. 7 Daughters of the Morning 7.7%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 28 works by this artist, of which 7 were looked at at least once. This painting ranks 6 of them, with 7.7% of that attention. 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

    Sir William Russell Flint

    The Genesis of a Visionary Draughtsman

    Born amidst the historic and academic atmosphere of Edinburgh in 1880, Sir William Russell Flint began his artistic journey not with the broad, sweeping strokes of an oil painter, but with the meticulous precision of a lithographic draughtsman. His formative years were defined by a rigorous classical education at Daniel Stewart's College and the Edinburgh Institution, providing him with a structural foundation that would underpin his entire career. This technical discipline was furthered by a unique period of medical illustration in London between 1900 and 1902. This unlikely apprenticeship provided him with an intimate, anatomical understanding of the human form—a skill that would later breathe life, weight, and structural integrity into his most celebrated subjects. As he refined his technique at Heatherley’s Art School, the sharp accuracy of a medical illustrator began to merge with a burgeoning artistic sensibility, setting the stage for a career that would transcend mere documentation to achieve profound poetic expression.

    Luminosity and the Mastery of Watercolor

    While his mastery extended to oils, tempera, and printmaking, it was in the ethereal realm of watercolor that Flint truly found his transcendent voice. He possessed an unparalleled ability to manipulate light, creating works that seemed to glow with an inner radiance. His paintings of women were rarely mere portraits; they were evocative studies in atmosphere, sensuality, and grace. Whether capturing the delicate movement of a dancer or the quiet introspection of a seated figure, Flint utilized the transparency of the medium to evoke the softness of skin, the weight of fabric, and the very essence of air with breathtaking fluidity. This mastery was not limited to the human form alone, as his landscapes often reflected the same Impressionistic charm found in his more famous figurative works, capturing the fleeting beauty of a moment caught in light.

    Technical Versatility: The seamless transition from the sharp, disciplined lines of lithography to the soft, luminous washes of watercolor.

    Thematic Depth: A profound focus on the interplay between light, shadow, and the elegant female silhouette.

    Atmospheric Mastery: The use of color to suggest the warmth of the Mediterranean or the cool, misty air of a northern landscape.

    Anatomical Grace: A legacy of figure painting rooted in his early, rigorous studies of human anatomy.

    A Global Spirit and an Enduring Legacy

    Flint’s artistic horizons expanded far beyond the borders of Britain, fueled by a wanderlust that brought him to the sun-drenched landscapes of Spain, France, and Italy. His travels became central to his iconography, particularly his fascination with the Spanish spirit and the vibrant, rhythmic energy of Mediterranean life. This international perspective allowed him to bring an exotic allure to the London art scene, captivating audiences through his evocative illustrations for The Illustrated London News and his celebrated depictions of dancers. His professional ascent was marked by significant honors, including his election to the Royal Academy in 1933 and his influential presidency of the Royal Society of Painters in Watercolours from 1936 to 1956. Through his work, Flint bridged the gap between the technical rigor of the Victorian era and the evocative, light-filled sensibilities of the early 20th century, leaving behind a body of work that remains a testament to the enduring beauty of the human spirit and the natural world.

    Where to read more

    Find this online

    QR code linking to the download page for miranda posing

    artsdot.com/en/art/download/sir-william-russell-flint-miranda-posing-AS8535-en/

    Cite this artwork

    MLA
    Flint, Sir William Russell. miranda posing. n.d., https://artsdot.com/en/art/sir-william-russell-flint-miranda-posing-AS8535-en/
    APA
    Flint, Sir William Russell (n.d.). miranda posing [Painting]. https://artsdot.com/en/art/sir-william-russell-flint-miranda-posing-AS8535-en/
    Chicago
    Sir William Russell Flint. miranda posing. n.d. https://artsdot.com/en/art/sir-william-russell-flint-miranda-posing-AS8535-en/
    Harvard
    Flint, Sir William Russell (n.d.) miranda posing. Available at: https://artsdot.com/en/art/sir-william-russell-flint-miranda-posing-AS8535-en/

    Look closely

    miranda posing — Sir William Russell Flint

    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 1 — do you agree?)
    4. Look back at Sir Charles Scott Sherrington (1857–1952), OM, Fellow (1913–1939), earlier in this guide. Name two things it shares with this work, and one that is different.
    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 I watch "miranda posing" as a full-screen slideshow?

    The diaporama of "miranda posing" can be watched on the artwork's Diaporama page.

    What colors dominate "miranda posing" by Sir William Russell Flint?

    The color identity of "miranda posing" by Sir William Russell Flint: a dark palette, dominated by walnut (#783527).

    Where can I download "miranda posing" by Sir William Russell Flint?

    The image of "miranda posing" by Sir William Russell Flint can be downloaded from the artwork's Download page: a high-resolution digital image download.