Who painted Gathering the Flock on Maxwellbank, No. 2?

Gathering the Flock on Maxwellbank, No. 2 was painted by Frank Short in 1892.

Where can I see Gathering the Flock on Maxwellbank, No. 2?

Gathering the Flock on Maxwellbank, No. 2 is held by Cleveland Museum of Art.

What movement is Gathering the Flock on Maxwellbank, No. 2?

Gathering the Flock on Maxwellbank, No. 2 is associated with Impressionism.

Can I buy a print of Gathering the Flock on Maxwellbank, No. 2?

Museum-quality prints of Gathering the Flock on Maxwellbank, No. 2 are available made-to-order from Artifact World Gallery.

Artwork

Gathering the Flock on Maxwellbank, No. 2

Frank Short , 1892

Gathering the Flock on Maxwellbank, No. 2 is a print by the Impressionist artist Frank Short. It dates from 1892 and is held in the collection of the Cleveland Museum of Art. Created in 1892, *Gathering the Flock on Maxwellbank, No.

About this work

Overview

Created in 1892, *Gathering the Flock on Maxwellbank, No. 2* is an intaglio print by British artist Frank Short. The work presents a tranquil rural landscape where shepherds guide a small herd of sheep across a gently sloping hillside, with a modest building hinted at in the distance.

Subject & Meaning

The composition captures a moment of pastoral routine, emphasizing the relationship between humans and livestock in a countryside setting. The shepherds’ gestures and the scattered flock convey a sense of quiet labor and the timeless rhythm of agricultural life.

Technique & Style

Short employed his refined intaglio skills, combining fine line work with subtle tonal variations to model light and shadow. The drawing‑like quality of the lines, loose yet deliberate, suggests an outdoor sketch rendered directly onto the plate, allowing depth to emerge through contrast rather than elaborate detail.

History & Provenance

Frank Short, noted for reviving mezzotint and aquatint while advancing drypoint, etching, and engraving, produced this print during a prolific period of his career. He later served as President of the Royal Society of Painter‑Etchers & Engravers (1910‑1938) and was Master of the Art Workers’ Guild in 1901, positions that underscore his influence in early‑20th‑century British printmaking.

Context

The work reflects the late‑Victorian interest in rural subjects and the practice of plein‑air sketching, where artists worked directly from nature to capture fleeting light effects. Short’s approach aligns with contemporaneous movements that valued immediacy and atmospheric observation over academic finish.