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Lot Essay
Born in Bristol in 1871, Arthur Drummond was the son of the marine painter John Drummond. He received his artistic training from Sir Lawrence Alma-Tadema and also under Benjamin Constant and J.P. Laurens in Paris.
By 1890 Drummond was living at 41, Walterton Road, St. Peter's Park and exhibited his first work at the Royal Academy, entitled The Minstrel. He continued to exhibit at the Royal Academy until 1901.
Although Drummond specialized in history and genre scenes and like his teacher Alma-Tadema, set many of his works in ancient Greece, Egypt and Rome, She Loves Butter! falls into a different category altogether. Like many of his contemporaries, Drummond obviously shared the Victorian society's fascination with all subjects pertaining to childhood. Set in a sunny meadow rife with yellow buttercups, three children of various ages are playing a game with the flowers. The exuberance of the children is echoed in the play of light on the scene and the bravura brushwork with which the artist renders his young subjects. The clarity of the palette, from the brilliant whites to the glowing pinks set off against the green and blue landscape, further heightens the clear atmosphere of a bright day in high summer. One particular tour-de-force of brushwork is the rendering of the white bonnet which has almost fallen out of the picture plane. Executed in sharp white and deftly painted, it draws the viewer into the painting, an effect further enhanced by the skillful handling of the perspective of the youngest child's outstretched hand.
By 1890 Drummond was living at 41, Walterton Road, St. Peter's Park and exhibited his first work at the Royal Academy, entitled The Minstrel. He continued to exhibit at the Royal Academy until 1901.
Although Drummond specialized in history and genre scenes and like his teacher Alma-Tadema, set many of his works in ancient Greece, Egypt and Rome, She Loves Butter! falls into a different category altogether. Like many of his contemporaries, Drummond obviously shared the Victorian society's fascination with all subjects pertaining to childhood. Set in a sunny meadow rife with yellow buttercups, three children of various ages are playing a game with the flowers. The exuberance of the children is echoed in the play of light on the scene and the bravura brushwork with which the artist renders his young subjects. The clarity of the palette, from the brilliant whites to the glowing pinks set off against the green and blue landscape, further heightens the clear atmosphere of a bright day in high summer. One particular tour-de-force of brushwork is the rendering of the white bonnet which has almost fallen out of the picture plane. Executed in sharp white and deftly painted, it draws the viewer into the painting, an effect further enhanced by the skillful handling of the perspective of the youngest child's outstretched hand.