Following her trip to Amsterdam, Rose has very kindly sent me Van Gogh's Vase with Cornflowers and Poppies (1887) for us all to enjoy, so my thanks to her for brightening this dreary day with some summer colour.
Related to this, do read Rose's comment (here) about Van Gogh and his wool, and click here and scroll down to see the box and contents.
Dates for your diary: from 19th. July to 19th. October, the Scottish National Gallery of Modern Art will be staging an exhibition of American Impressionism, including works by Mary Cassatt, John Singer Sargent and James McNeill Whistler.
The lovely picture above is Eleanor by Frank Weston Benson, the subject being the artist's daughter.
There are two 'prizes'; one is a book containing 30 postcards of works by the four Scottish Colourist artists, i.e. Cadell, Peploe, Fergusson and Hunter, (some are shown below),
and the other is a group of six postcards of works by Fergusson, all of which are in the exhibition:-
To enter, please leave a comment on this post giving the name of a favourite artist or painting, or simply a favourite colour, and if you have a preference for one set of cards over the other, just say "Colourists" or "Fergusson", otherwise I'll put your name in the hat for both. The draw is open to everyone, regardless of location, so please do have a go.
Mary asked the other day whether the J.D. Fergusson exhibition at the Scottish National Gallery of Modern Art was worth the price of a plane ticket north.
I've seen it now and I can say "Yes!", emphatically, "yes!"
This is the third in the Gallery's Scottish Colourist series after Cadell and Peploe over the last two years. It looks as though we are not to get a Hunter show, so take this chance to see Fergusson - it's on until mid-June - and prepare to be impressed.
I say that because I was less familiar with his work than with that of Cadell and Peploe, so perhaps was more susceptible to being bowled over by his range and the sheer energy of his pieces, but bowled over I was. There are around 100 works on show, sculptures as well as paintings, and they include still lifes, landscapes, portraits, nudes, and even pictures from his brief time as a war artist*. With virtually no formal training, Fergusson absorbed Impressionism, Fauvism and even Vorticism to startling effect, and in the course of a long life spent mostly in France or his native Scotland, produced work which " ... is a deep and pure expression of his immense love of life. Endowed with a rare plastic feeling, almost sculptural in its quality. He joined with it an exceptional sense of colour, outspoken, ringing colours, rich and splendid in their very substance."
Click here to see some of the exhibition highlights (though those tiny images do not do justice to the real things), and here to see a short related film, then please come back tomorrow when I'll have a little something to give away.
*When reporting for duty he admitted that he really did not like khaki, and the interviewing colonel said - in all seriousness - "we can't do anything about that, but what about the Navy?" As blue was Fergusson's favourite colour (good man!), a succesful posting ensued.
Clarke (1882-1924) trained first as a dentist before turning to painting, and he settled in the artists' colony of Kirkcudbright*, dying in a tragic accident during the construction of his new house.You can find more of his work here. I like the light and freshness of this piece, and I'd love to know what the girl is reading.
Some details of ecclesiastical panels from The Great Tapestry of Scotland, including - second from the bottom - The Apprentice Pillar at Rosslyn Chapel (see posts here and here), and below it, one of the Chapel's many Green Men.
I've been to see The Great Tapestry of Scotland again as it's on display at Cockenzie House and open for viewing until the 8th. of December. My pictures this time are mostly of details from the panels* rather than the broader subjects themselves, and I plan to post them in three or four batches so that there is not too much to take in all at once. I hope they will show something of the range of stitches used in the piece and the very creative ways in which the designer Andrew Crummy and the many embroiderers who worked on the panels have interpreted Scotland's history from its landscape and buildings to its people, ideas and institutions. You'll find some pictures with a literary theme on Cornflower Books, and there will be more to look at here very soon.
Interestingly, the subject of the café came up during our chat with lovely Alice of The Sight of Morning at the Slightly Foxed Readers' Day; she was surprised to hear our experience had been such a positive one as it has had a bad press of late, but it looks as though new management has recently made many changes for the better, and I'd certainly go back.