Who painted Tween the Gleamin and the Mirk, When the Kye come Hame?

Tween the Gleamin and the Mirk, When the Kye come Hame was painted by Mary Nimmo Moran in 1883.

Where can I see Tween the Gleamin and the Mirk, When the Kye come Hame?

Tween the Gleamin and the Mirk, When the Kye come Hame is held by Cleveland Museum of Art.

What movement is Tween the Gleamin and the Mirk, When the Kye come Hame?

Tween the Gleamin and the Mirk, When the Kye come Hame is associated with Impressionism.

Can I buy a print of Tween the Gleamin and the Mirk, When the Kye come Hame?

Museum-quality prints of Tween the Gleamin and the Mirk, When the Kye come Hame are available made-to-order from Artifact World Gallery.

Artwork

Tween the Gleamin and the Mirk, When the Kye come Hame

Mary Nimmo Moran , 1883

Tween the Gleamin and the Mirk, When the Kye come Hame is a print by the Impressionist artist Mary Nimmo Moran. It dates from 1883 and is held in the collection of the Cleveland Museum of Art.

Accession no.: 1919.704
Credit line: Gift of George A. Goddard

About this work

Overview

Tween the Gleamin and the Mirk, When the Kye come Hame is a landscape etching created by Mary Nimmo Moran in 1883. Characteristic of her oeuvre, the work captures a serene yet dynamically lit natural scene.

Subject & Meaning

The print depicts a flooded field at a transitional moment between daylight and darkness, juxtaposing a stormy sky with calm water. A distant windmill, fence, and horizon-lined structures evoke a sense of rural tranquility amidst change.

Technique & Style

Moran employed bold, expressive lines and nuanced shading to convey the texture of water and the irregularity of fence posts. This blend of realistic rendering and atmospheric effect imbues the scene with a dreamlike quality.

History & Provenance

Created in 1883, this etching reflects Moran's established practice as a landscape etcher. By then, she had been recognized as a pioneer in her field, elected as one of the first female fellows of the Royal Society of Painter-Etchers in 1881.

Context

Part of a broader body of roughly 70 etchings by Moran, this work sits alongside pieces inspired by locations in England, Scotland, and various U.S. states, highlighting her interest in capturing diverse landscapes.