Who painted Up the Hill?

Up the Hill was painted by James David Smillie in 1879.

Where can I see Up the Hill?

Up the Hill is held by National Gallery of Art.

What movement is Up the Hill?

Up the Hill is associated with Impressionism.

Can I buy a print of Up the Hill?

Museum-quality prints of Up the Hill are available made-to-order from Artifact World Gallery.

Artwork

Up the Hill

James David Smillie , 1879

Up the Hill is an ink print by the Impressionist artist James David Smillie. It dates from 1879 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower left in plate: J.D. Smillie; lower right in plate: No. 10. 1879; lower left edge in graphite by unknown hand: "Up the Hill"; upper center verso in graphite by unknown hand: "Up the Hill" / Original etching by Jas. D. Smillie
Markings: Marked:stamped center verso in black ink: F.B.B. [circled]

About this work

Overview

James David Smill’s 1879 print titled Up the Hill is an etching executed on laid paper. The work presents a modest landscape dominated by a gentle rise and scattered trees, rendered in stark black lines that emphasize form and atmosphere without the distraction of colour.

Subject & Meaning

The composition depicts a solitary hill ascending into the distance, flanked by a few trees that suggest a quiet, rural setting. The simplicity of the scene invites contemplation of the natural environment, emphasizing the quiet dignity of an unadorned landscape.

Technique & Style

Created by incising a design into a metal plate and then printing onto laid paper, the etching allows Smill to achieve fine linear detail and subtle tonal variation. The black ink, applied uniformly, produces a range of textures that convey depth and the play of light across the terrain.

History & Provenance

Smill produced Up the Hill in 1879, during a period when etching enjoyed renewed popularity among British artists seeking to explore atmospheric effects. The print’s provenance is not extensively documented, but it remains representative of Smill’s broader output in the late nineteenth‑century printmaking revival.