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The Scottish Colourists, 1900-1930
F.C.B. Cadell, J.D. Ferguson, G.L. Hunter and S.J. Peploe are now amongst the most admired of early twentieth century British artists. Their direct contact with French Post-Impressionism and early knowledge of the work of Matisse and the Fauves, encouraged them to produce paintings which are considered some of the most progressive in British art of the early twentieth century. During their lifetime the Colourists developed an international reputation, exhibiting in Paris, London and New York as well as Scotland. Since their deaths they have often been overlooked in histories of British art, but in the last twenty years there has been a dramatic revival of interest in their work. Featuring essays describing the artists' lives and their involvement with the avant garde in Paris in the early years of the twentieth century, this book is richly illustrated with over 100 of the Colourists' most stylish and inventive paintings.
S.J. Peploe
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S.J. Peploe
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Scottish Colourists Masterpieces of Art
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.
Modern Scottish Painting
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.
Modern Scottish Women
This revelatory book concentrates on Scottish women painters and sculptors from 1885, when Fra Newbery became Director of the Glasgow School of Art, until 1965, the year of Anne Redpath's death. It explores the experience and context of the artists and their place in Scottish art history, in terms of training, professional opportunities and personal links within the Scottish art world. Celebrated painters including Joan Eardley, Margaret Macdonald Mackintosh and Phoebe Anna Traquair are examined alongside lesser-known figures such as Phyllis Bone, Dorothy Johnstone and Norah Neilson Gray, in order to look afresh at the achievements of Scottish women artists of the modern period.The book accompanies a show which will be held at the Scottish National Gallery of Modern Art Two in Edinburgh from 7 November 2015 to 26 June 2016.
Forty-four Scotland Street
When Pat rents a room in Edinburgh, she acquires some interesting neighbors--including a pushy Stockbridge mother and her talented, sax-playing, five-year-old son. Her job at an art gallery hardly keeps her busy until she suspects one painting in the collection may be an undiscovered work by a Scottish master.
