Oil paint on canvas mounted on hardboard
222 x 278 mm
Technique and condition
How to citeRoy Perry, 'Technique and Condition', December 2003, in Robert Upstone, ‘Morning over the Ploughed Fields c.1904 by Robert Bevan’, catalogue entry, May 2009, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, Tate Research Publication, May 2012, https://www
Robert A. Bevan, the artist’s son, believed that Morning over the Ploughed Fields must date from either his father’s 1901 or 1903 Polish trip, but that ‘stylistically it seems more likely to be 1901’.7 A similar landscape study entitled The Purple Field, Poland (private collection)8 is dated to this year, although the manner of execution is more formal. Robert A. Bevan’s rationale for dating the Polish pictures is the age of the child in The Gate at Szeliwy (private collection),9 which depicts Karlowska holding the hand of their daughter Edith born in 1898. The adventurous palette of Morning over the Ploughed Fields is highly unusual and advanced. None of the Fauves were using such strong colouring at such an early date, although O’Conor and other artists at Pont-Aven were. The rationale for this chronology, however, could potentially be flawed; one possibility is that the child in The Gate at Szeliwy is not Edith Bevan but Robert Alexander Bevan himself, wearing a knee-length dress of the type common to Edwardian male children. He was born in 1901, and this would date The Gate at Szeliwy to 1904–5 if the child depicted was around three years old. This is a far more acceptable date on stylistic grounds and would apparently come from the visit to Poland of that year. Another alternative is that it is a different child altogether.
How to cite
Robert Upstone, ‘Morning over the Ploughed Fields c.1904 by Robert Bevan’, catalogue entry, May 2009, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, Tate Research Publication, May 2012, https://www