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Student Artwork Guide

Barque 'Preasent'

Name Class Date

William Griffin, Barque 'Preasent' (1859). 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
William Griffin wikioo.org/en/artists/william-griffin/
Painted
1859
Original size
66 x 79 cm

In context

Barque 'Preasent' — William Griffin

How big is it?

The original measures 66 × 79 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1830
  2. 1840
  3. 1850

▲ this work, 1859 every dated painting, decade by decade

First works: up to 1835 Main working years: 1835–1849 Late works: from 1849

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

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: wikioo.org/en/art/similar/william-griffin-barque-preasent-AS7VWH-en/

Colours

Measured from the image

    Main colour

    Driftwood #95874d

    Catalogued palette

    • #95874D
    • #564C1F
    • #927D3D
    • #7D6627

    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
    Driftwood
    Intensity
    Vivid 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
    Unified Palette 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 William Griffin over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%

    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 5 most looked-at works by William Griffin

    1. 1 The Paddle Steamers 'Monarch' and 'Griffin' 40.0%
    2. 2 Sailing Barque 'Glasgow', 1850 20.0%
    3. 3 Paddle Steamers 'Rob Roy', 'Emperor' and 'Queen of Scotland', 1848 20.0%
    4. 4 PS 'Queen of Scotland' 20.0%
    5. — Barque 'Preasent', 1859 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 11 works by this artist, of which 4 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. 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

    William Griffin

    William Griffin: A Soulful Weaver of Irish Landscapes and Spiritual Echoes

    Born in Cork, Ireland, in 1947, William Griffin’s artistic journey is a testament to the enduring power of observation, intuition, and a profound connection to both the natural world and the unseen realms. Initially drawn to the stability of the oilfield industry – a stark contrast to the volatile nature of his burgeoning art – Griffin ultimately recognized the imperative to translate the landscapes and spiritual resonances within him onto canvas. His work, characterized by a distinctive blend of realism, symbolism, and an almost meditative quality, has garnered critical acclaim and established him as a significant voice in contemporary Irish art.

    Griffin’s early life instilled in him a deep appreciation for the rugged beauty of the West Coast of Ireland, a region that would become inextricably linked to his artistic vision. Leaving Cork in the 1960s, he sought opportunities in London, initially working as an artist but struggling to gain recognition amidst the prevailing art scene. It wasn’t until 1971, after a period spent in the oilfield – a profession that provided both financial stability and a unique perspective on the rhythms of industry and human endeavor – that he returned to painting with renewed purpose. This shift marked a turning point, allowing him to immerse himself fully in his creative process, free from the constraints of commercial pressures.

    The Language of Color and Symbol

    Griffin’s artistic style is immediately recognizable for its rich palette and evocative symbolism. He rarely offers explicit explanations of his work, instead inviting viewers to engage with the paintings on a deeply personal level. His color choices are deliberate and imbued with emotional weight – vibrant yellows and pinks often juxtaposed against darker reds and purples, creating a dynamic tension that reflects the complexities of human experience. He frequently employs landscapes—particularly those of the Irish countryside—as his primary subject matter, but these aren’t merely depictions of scenery; they are windows into a deeper spiritual realm.

    Central to Griffin's approach is the use of symbolism. He draws inspiration from both religious iconography and the natural world, weaving together elements that suggest hidden meanings and invite contemplation. His paintings often feature birds, boats, and other familiar motifs, but these are presented in unexpected contexts, prompting viewers to consider their significance within the broader narrative of each work. He describes his process as a conduit to the unconscious, bypassing the limitations of language to directly access and express profound emotional truths.

    A Journey into the Inner Landscape

    Griffin’s artistic development can be understood as a continuous exploration of this inner landscape—a space where the tangible world merges with the intangible. His early works, characterized by a more representational style, gradually evolved into a more expressive and symbolic approach. The shift is evident in his later paintings, which are imbued with a sense of quiet intensity and spiritual depth. He often begins his work in a darkened cellar, utilizing minimal light to allow his vision to expand and connect with the surrounding environment – a technique that he believes enhances his ability to tap into the subconscious.

    Influences on Griffin’s work are diverse and multifaceted. While he acknowledges a debt to traditional Irish landscape painting, he also draws inspiration from religious art, particularly the works of C.S. Lewis, whose spiritual themes resonate deeply within his own artistic practice. The exploration of faith, doubt, and the search for meaning is a recurring motif in his oeuvre.

    Recognition and Legacy

    Despite initially facing challenges in gaining recognition, William Griffin’s work has steadily gained prominence over the years. His paintings have been exhibited extensively throughout Ireland and internationally, and he is represented in the collections of major museums, including the Museum of Modern Art in New York. His commitment to accessibility—preferring site-specific exhibitions in open spaces—has ensured that his art reaches a wide audience.

    Griffin’s legacy extends beyond his artistic achievements. He has been recognized for his dedication to nurturing young talent, particularly through his involvement with Starehe Boys' Centre and School in Kenya, where he played a pivotal role in shaping the lives of countless disadvantaged children. His work stands as a powerful reminder of the transformative potential of art—its ability to inspire, challenge, and connect us to something larger than ourselves.

    Where to read more

    Find this online

    QR code linking to the download page for Barque 'Preasent'

    wikioo.org/en/art/download/william-griffin-barque-preasent-AS7VWH-en/

    Cite this artwork

    MLA
    Griffin, William. Barque 'Preasent'. 1859, https://wikioo.org/en/art/william-griffin-barque-preasent-AS7VWH-en/
    APA
    Griffin, William (1859). Barque 'Preasent' [Painting]. https://wikioo.org/en/art/william-griffin-barque-preasent-AS7VWH-en/
    Chicago
    William Griffin. Barque 'Preasent'. 1859. https://wikioo.org/en/art/william-griffin-barque-preasent-AS7VWH-en/
    Harvard
    Griffin, William (1859) Barque 'Preasent'. Available at: https://wikioo.org/en/art/william-griffin-barque-preasent-AS7VWH-en/

    Look closely

    Barque 'Preasent' — William Griffin

    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. Look back at Sailing Barque 'Glasgow' (1850), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. What might the artist have wanted you to feel?
    5. If you could ask the artist one question about this work, what would it be?

    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

    Is "Barque 'Preasent'" more bright or more dark overall?

    The recorded values for "Barque 'Preasent'" by William Griffin are: bright brightness, soft shadow luminance.

    Is "Barque 'Preasent'" available as a fine art print?

    "Barque 'Preasent'" is available as a fine art print on cotton canvas or archival canvas paper. Orders are placed on its Fine Art Print page, in the size of your choice.

    How big is the original "Barque 'Preasent'"?

    The recorded dimensions of "Barque 'Preasent'" by William Griffin are 66 x 79 cm. Reproductions can be ordered in other sizes while keeping the same proportions.