WHEN, in 1963, the newly established Abbot Hall Art Gallery in Kendal, Cumbria, staged a survey of 20th-century Scottish artists—including recently acquired works by Joan Eardley, Elizabeth Blackadder, Ian McKenzie Smith, Anne Redpath and Alistair Park—it acknowledged their debt to the Scottish Colourists and borrowed some paintings by this older generation to include in the show. The Colourists had enjoyed success and international recognition during their lifetimes, but interest in their work had waned and the curator, Helen Kapp, took a lead in drawing attention to their contribution to British Modernism.
It would take several decades for the significance of this group of four to be widely re-evaluated, after which their popularity has continued to grow; in 2011, Peploe’s Still Life with Coffee Pot (1905) smashed auction records for a Scottish painting when it sold at Christie’s for nearly £1 million.
Outside Scotland, holdings of the Scottish Colourists remain minimal, however, and their paintings are seldom on public view. So it comes as a welcome opportunity to be able to visit two exhibitions in England devoted to the development and impact of their work.
At the Lightbox in Woking, Michael Regan, working with Guy Peploe of the Scottish Gallery, has curated a comprehensive introduction to the oeuvre of this mould-breaking quartet— Samuel John Peploe (1871–1935), John Duncan Fergusson (1874– 1961), George Leslie Hunter (1877–1931) and Francis Campbell Boileau Cadell (1883–1937).
Denne historien er fra November 27, 2019-utgaven av Country Life UK.
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Denne historien er fra November 27, 2019-utgaven av Country Life UK.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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Kitchen garden cook - Apples
'Sweet and crisp, apples are the epitome of autumn flavour'
The original Mr Rochester
Three classic houses in North Yorkshire have come to the market; the owner of one inspired Charlotte Brontë to write Jane Eyre
Get it write
Desks, once akin to instruments of torture for scribes, have become cherished repositories of memories and secrets. Matthew Dennison charts their evolution
'Sloes hath ben my food'
A possible paint for the Picts and a definite culprit in tea fraud, the cheek-suckingly sour sloe's spiritual home is indisputably in gin, says John Wright
Souvenirs of greatness
FOR many years, some large boxes have been stored and forgotten in the dark recesses of the garage. Unpacked last week, the contents turned out to be pots: some, perhaps, nearing a century old—dense terracotta, of interesting provenance.
Plants for plants' sake
The garden at Hergest Croft, Herefordshire The home of Edward Banks The Banks family is synonymous with an extraordinary collection of trees and shrubs, many of which are presents from distinguished friends, garnered over two centuries. Be prepared to be amazed, says Charles Quest-Ritson
Capturing the castle
Seventy years after Christian Dior’s last fashion show in Scotland, the brand returned under creative director Maria Grazia Chiuri for a celebratory event honouring local craftsmanship, the beauty of the land and the Auld Alliance, explains Kim Parker
Nature's own cathedral
Our tallest native tree 'most lovely of all', the stately beech creates a shaded environment that few plants can survive. John Lewis-Stempel ventures into the enchanted woods
All that money could buy
A new book explores the lost riches of London's grand houses. Its author, Steven Brindle, looks at the residences of plutocrats built by the nouveaux riches of the late-Victorian and Edwardian ages
In with the old
Diamonds are meant to sparkle in candlelight, but many now gather dust in jewellery boxes. To wear them today, we may need to reimagine them, as Hetty Lintell discovers with her grandmother's jewellery
