Old December Bareness Everywhere, was acquired by the Chantrey Bequest and bequeathed to the Tate for the benefit of the Nation. Despite exhibiting such a large number of paintings at the Royal Academy throughout his lifetime, Buxton Knight was never admitted as an Associate or an Academician, despite having been put forward numerous times. A year after his death, E Barrington Nash wrote: "I am informed that Mr Knight’s name has lately been placed upon the list of candidates for the Royal Academy Associateship, but surely, with such great masterly works as ‘Dover’, ‘White Walls’, ‘Littlehampton’, ‘Hop-picking’, ‘Poole’, ‘Richmond Park’, (White Lodge), and many others en evidence before us, it is a matter of national disgrace that he has not been admitted a full-fledged R.A. long ago." "There are few types of landscape that he has not painted: coast subjects, river scenery, mountains, moorland, and quiet stretches of pastoral meadow-land; all have been recorded by him at some time or other. As he wishes to associate only with her [Nature], he has to be ever out and about. And for the greater part of the year he lived in the open, painting industriously through spring, summer, and autumn, returning only when the winter winds make the nomad existence impossible even to the greatest art enthusiast…. Few modern landscape painters can affirm the same absolute self-sacrifice, or can plead that they have to such an extent subordinated the not unnatural inclination to assert individuality at the expense of fidelity to nature. That he should have done so all his life speaks well for his consistency, and implies a rare quality of belief in the soundest principals of art." "While we have painters like John Buxton Knight to keep alive the best traditions of the English landscape school, there is certainly no fear that we shall lose our pre-eminent position among the nations which have produced the greater masters in this form of pictorial practice…. It is because Mr Buxton Knight has attacked and mastered the intricacies of British landscape and has made himself a typical exponent of all that is most characteristic in our insular atmosphere that it is possible to claim for him a place among the chief living leaders of our native art. For he represents more adequately than most of our present-day landscape painters what may be called legitimate school. He follows closely the old-established tradition, the sound