Artist:
N.C. Wyeth
(American, 1882 - 1945)
Death of Edwin
Medium: Oil on canvas
Date: 1921
Dimensions:
40 × 32 1/4 in. (101.6 × 81.9 cm)
Brandywine River Museum of Art, Gift of Mr. and Mrs. Harl McDonald, 1972
Accession number: 72.9
Label Copy:
In preparation for this commission, Wyeth read an undated edition of The Scottish Chiefs published by Thomas D. Crowell Company, New York, and illustrated with photographs of Scottish scenery (Brandywine River Museum of Art, NCWS.95.184). He also had in the reference library in his studio the eight volumes of Scottish Highlands, Highland Clans and Highland Regiments published by Fullerton & Co. of Edinburgh (BRMA, NCWS.95.232.1-.8).
The Scottish Chiefs is a novel set in late 13th and early 14th centuries during the revolt of Scottish nobility against the rule of Edward I of England. In this second to the last illustration, William Wallace, the leader of the rebellion and hero of Porter’s story, stands over the body of his beloved companion Edwin Ruthven after both were betrayed by the treacherous Sir John Monteith. The sight of the young and faithful Edwin, shot in the breast by Monteith’s men, so stuns Wallace he can no longer resist capture (and certain death) at the hands of his English enemies.
Few more important lessons were imparted by Howard Pyle than the ability to construct a dramatic scene. One technique Pyle recommended was the use of deep shadow contrasted with bright light, and Wyeth became a master of this particular device. In this painting, Wyeth illuminated the slain Edwin with a blast of cold, silvery moonlight; it spreads out halo-like around his head and visually reinforces Wallace’s earlier reference to "that angel youth." The young man represented "truth, manhood, and nobleness" and the dramatic lighting elevates his character to an even higher plane. The darkness of the painting holds the menace of Monteith’s men, clearly felt, if not clearly distinguished.
In preparation for this commission, Wyeth read an undated edition of The Scottish Chiefs published by Thomas D. Crowell Company, New York, and illustrated with photographs of Scottish scenery (Brandywine River Museum of Art, NCWS.95.184). He also had in the reference library in his studio the eight volumes of Scottish Highlands, Highland Clans and Highland Regiments published by Fullerton & Co. of Edinburgh (BRMA, NCWS.95.232.1-.8).
The Scottish Chiefs is a novel set in late 13th and early 14th centuries during the revolt of Scottish nobility against the rule of Edward I of England. In this second to the last illustration, William Wallace, the leader of the rebellion and hero of Porter’s story, stands over the body of his beloved companion Edwin Ruthven after both were betrayed by the treacherous Sir John Monteith. The sight of the young and faithful Edwin, shot in the breast by Monteith’s men, so stuns Wallace he can no longer resist capture (and certain death) at the hands of his English enemies.
Few more important lessons were imparted by Howard Pyle than the ability to construct a dramatic scene. One technique Pyle recommended was the use of deep shadow contrasted with bright light, and Wyeth became a master of this particular device. In this painting, Wyeth illuminated the slain Edwin with a blast of cold, silvery moonlight; it spreads out halo-like around his head and visually reinforces Wallace’s earlier reference to "that angel youth." The young man represented "truth, manhood, and nobleness" and the dramatic lighting elevates his character to an even higher plane. The darkness of the painting holds the menace of Monteith’s men, clearly felt, if not clearly distinguished.
Research Number: NCW: 67
InscribedLower left: TO HARL MACDONALD [sic] / 1927 / N. C. WYETH (underlined); All four stretcher keys are marked: PATd. / FEB. 13 / 1883 / JUNE 16 / 1885 / A. D. S.
ProvenanceThe artist (returned to him from Scribner's, 1/22/1923); Harl McDonald, 1927; Mrs. Harl McDonald to 1972
Exhibition HistoryHarrisburg, PA, 1965, no. 61; Rockland, ME, 1966, no. 58; Chadds Ford, PA, 1972, no. 106; Bridgeport, CT, 1974, no. NC10 (listed in addendum); Ligonier, PA, Westmoreland County Art Association, "Ligonier Valley Biecentennial Art Show," 19 July- 6 Aug. 1976; Chadds Ford, PA, 1976(1); Princeton, NJ, 1977, no. 33; Chadds Ford, PA, 1987(2), no. 39, illus. in color p. 115; Rockland, ME, 1998, no. 60, p. 164, illus. p. 60; Easton, MD, Academy of the Arts, "America's Storytellers: N. C. Wyeth and Howard Pyle", Dec. 2, 1999 - Jan. 22, 2000; Harrisburg, PA, Governor's Residence, "The Wyeths in Pennsylvania: Three Generations," April 3 - July 31, 2000; Akron, OH, Akron Museum of Art, June 15 - Sept. 1, 2002, and Lawrence, KS, Spencer Museum of Art, Sept. 21 - Nov. 17, 2002, "N. C. Wyeth from the Brandywine River Museum Collection"; Rockland, Maine, Farnsworth Art Museum, "Every Picture Tells a Story," April 27-Dec. 30, 2013; Chadds Ford, PA, Brandywine River Museum of Art, "Enchanted Castles and Noble Knights," Nov. 28, 2014-Jan. 4, 2015
References
Douglas Allen and Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals (New York: Crown Publishers, Inc., 1972), p. 215; Brandywine River Museum, Catalogue of the Collection, 1969-1989 (Chadds Ford, PA: Brandywine Conservancy, 1991), p. 211, b/w illustration p. 207; Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (London: Scala, 2008), I.871, p. 426
Curatorial RemarksIn preparation for this commission, Wyeth read an undated edition of The Scottish Chiefs published by Thomas D. Crowell Company, New York, illustrated with photographs of Scottish scenery (NCWS.95.184, N. C. Wyeth House and Studio Collection, Brandywine River Museum of Art). He also had in his studio library the 8 volume "Scottish Highlands, Highland Clans and Highland Regiments" published by Fullerton & Co. of Edinburgh (BRMA, NCWS.95.232.1-.8).
Wyeth was extremely concerned about the quality of the reproductions for this commission--he had generously used blue and green pigments throughout, difficult for printers to duplicate. For this commission, the plates were engraved by the Suffolk Engraving and Electrotyping Company (see Scribner's cards, Brandywine River Museum of Art, Annenberg Research Center) and printed by Bowker (NCW to Joseph Hawley Chapin, dated "Tuesday morning, 6:15" probably June, 1921, Archives of Charles Scribner's, Manuscripts Division, Department of Rare Books and Special Collections, Princeton University Library).
Wyeth was extremely concerned about the quality of the reproductions for this commission--he had generously used blue and green pigments throughout, difficult for printers to duplicate. For this commission, the plates were engraved by the Suffolk Engraving and Electrotyping Company (see Scribner's cards, Brandywine River Museum of Art, Annenberg Research Center) and printed by Bowker (NCW to Joseph Hawley Chapin, dated "Tuesday morning, 6:15" probably June, 1921, Archives of Charles Scribner's, Manuscripts Division, Department of Rare Books and Special Collections, Princeton University Library).
Image Source for printed Catalogue Raisonne:Transparency directly from painting
On view