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Featuring commentary on the artists' lives and their involvement in the avant-garde in Paris, The Scottish Colourists is richly illustrated with over 100 of the Colourists' most stylish and inventive paintings.
Inspired by the works of French Post-Impressionist and Fauvist artists, the Scottish Colourists (Samuel Peploe, J.D. Fergusson, Leslie Hunter and F.C.B. Cadell) introduced 1920s Britain to a whole new style of painting. While they did not regard themselves as a collective, they are known for their bold use of colour, vigorous brushwork and affinity for painting en plein air. Though each had a distinct style and focus, they were united by pioneering efforts to buck the prevailing artistic conventions of their time, creating works of art that burst with life and beauty. With over 80 images and a broad introduction, this is a fine addition to Flame Tree's ever-increasing series on painting and illustration, Masterpieces of Art.
A comprehensive, lavishly illustrated new biography of Scotland's favourite artist is long overdue. Guy Peploe is in a unique postion to bring it to us. As a grandson of the artist he has had access to family archive material which yields an insight into the life of a complex and brilliant artist. In 1985 he curated the extensive Peploe exhibition, opened by Her Majesty the Queen, which inaugurated the new Scottish Gallery of Modern Art. So that, while there remains the cetainty that important works are still to be discovered, he has access to the major public and private collections. The illustrations cover the artist's whole career from the luscious still life paintings and Sargeant-esque figure compositions of the earliest period, through the brilliant, vibrant work done in France before the First World War, strongly influenced by post-Impressionism, to the life-enhancing still life and landscapes of his maturity. An all-inclusive chronology of Peploe's work, the biography is illuminating for both collectors and devotees. Throughout it is a visual feast, using the best modern printing techniques to do justice to Scotland's greatest Colourist.
The compelling story of over 5,000 years of Scottish art, told by Lachlan Goudie, renowned contemporary Scottish artist, broadcaster and presenter of BBC Four's 'The Story of Scottish Art'. This is the story of how Scotland has defined itself through its art over the past 5000 years, from the earliest enigmatic Neolithic symbols etched onto the landscape of Kilmartin Glen to Glasgow's fame as a centre of artistic innovation today. Lachlan Goudie brings his perspective and passion as a practising artist and broadcaster to narrate the joys and struggles of artists across the millennia striving to fulfil their vision and the dramatic transformations of Scottish society reflected in their art. The Story of Scottish Art is beautifully illustrated with the diverse artworks that form Scotland's long tradition of bold creativity: Pictish carved stones and Celtic metalwork; Renaissance palaces and chapels; paintings of Scottish life and landscapes by Horatio McCulloch, David Wilkie and Joan Eardley; designs by master architect Charles Rennie Mackintosh; and collage and sculpture by Pop Art pioneer Eduardo Paolozzi. Lachlan tells the compelling story of how and why these and many other Scottish masterpieces were created, and the impact they have had on the world.
The Scottish Colourists are now acclaimed worldwide as a group of painters of exceptional originality. The strong, emotive colours, fluent brushwork and keen sense of pattern marked their paintings as different. Billcliffe reassesses their work.
The second Catrin Sayer mystery. A retired clergyman collapses in the Kelvingrove Museum in Glasgow, right in front of the painting by Salvador Dali called ‘Christ of Saint John of the Cross’. It is thought to be a heart attack until the angina medication he took at the onset of the attack was discovered to be a placebo; it was totally ineffective. Meanwhile, a drug 'baron' in Glasgow searches out the services of a friend of his late father, a man with prior convictions for art forgery; he has a job for him. Detective Constable Catrin Sayer is now nearly a year into her assignment with the Art Crime Unit at New Scotland Yard. The journey north to Glasgow on a new case is tied to both the death of the clergyman and a rumour of theft or fraud associated with paintings by a group of artists known as ‘The Scottish Colourists’.
In 1939, Scottish artist and sculptor J.D. Fergusson was commissioned to write a fully illustrated book on modern Scottish painting. The Second World War made this difficult and the first edition of Modern Scottish Painting was published in 1943 without illustrations. This new edition – edited, introduced and annotated by Alexander Moffat and Alan Riach – finally brings Fergusson's project to fruition, illustrating the argument with colour reproductions of Fergusson's own work. Moffat and Riach frame Fergusson's important art manifesto for the 21st-century reader, illuminating his views on modern art as he explores questions of technique, education, form and what it means for a painting to be truly modern. Fergusson relates these aspects of modern painting to Scottishness, showing what they mean for Scottish identity, nationalism, independence and the legacy that puritanical Calvinism has left on Scottish art – a particular concern for Fergusson given his recurring subject matter of the female nude.
Full-time philosopher and occasional sleuth Isabel Dalhousie, now the mother of a baby boy, is getting used to the new rhythms of her life, caring for little Charlie with the sometimes unsettling aid of her forthright housekeeper, Grace, having dinners with Charlie’s father, Jamie, and tending as usual to submissions to the Review of Applied Ethics. But Isabel is deeply unsettled when she receives a letter telling her that she is soon to be replaced as editor of the Review by Christopher Dove, an ambitious academic at a London university, and she considers a variety of ways of dealing with this unwelcome news. And her niece, Cat, who a couple of years before had rejected Jamie and broken his heart, is now furious at Isabel for having stolen him away. Isabel’s insatiable curiosity—or what Jamie sees as her tendency toward meddling—is peaked when she learns some odd details regarding two paintings by a Scottish artist that have come onto the auction market, and she begins to think that the paintings might be forgeries. Her investigation takes her to the beautiful Isle of Jura, where she finds some recent traces of the painter and learns of his apparent suicide in the fabled whirlpool called the Corryvreckan. A visit to the painter’s widow brings a surprising realization, one that contributes to her musings throughout the story on mothers, fathers, and sons.
J.D Fergusson (1874-1961) is one of the four artists known as the Scottish Colourists. Born in Leith, he was essentially a self-taught artist. In Paris 1907 he became involved with the avant-garde scene and exhibited at the progressive Salon D'Automne. This book reasserts his place at the forefront of British modernism.