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PAINTING The Scottish Colourists 1900—1930
Dean Gallery, Edinburgh, until Sun 28 Jan
Take four Scottish artists — John Duncan Fergusson, Francis Campbell Boileau Cadell, George Leslie Hunter and Samuel John People — expose them to French post-Impressionism and the vibrant, expressionistic art of fauvism and add a love of pure, unashamed bold colour. The result is what is collectively known as the Scottish Colourists, who are among the most admired of early 20th century British painters.
One of the few exhibitions devoted to all four artists, over 70 paintings chronologically hang in the light, bright rooms of the Dean Gallery. With the added attraction of an informative audio tour narrated by fellow Scot Tom Conti, the exhibition serves as an introduction to newcomers and, for the initiated, puts the story of the development of their art clearly into the picture.
From the early works of Fergusson (1874—1961) and Peploe (1871—1935), who both began their careers in Paris, the dark, black background still lifes of The Lobster (1903) by Peploe and Jonqui/s and Silver (1905) by Fergusson echoes the work of Velazquez and Manet respectively; a complete contrast to the colour-saturated still life studies
Tulips and Cup c.1912 by S.J.Peploe
which followed. Influenced by the early fauve works of Matisse and Derain, walking through the gallery you can see how colour took over their palette. The warmth of the hot Mediterranean sun and the calm of the alfresco cafe scenes is perfectly conveyed.
The Scottish land and seascapes by Cadell (1883—1937), The North End, Iona (1914) and Lunga from Iona (1926) featured in the show could very easily be sunnier foreign climes as the cool, turquoise, green and aquamarine sea tones suffuse the canvas. But Cadell is perhaps better known for his depictions of fashionable Edinburgh Society. Painting from his studio in Ainslie Place, Cadell was ever the witty and gregarious host, painting ladies in big hats sipping afternoon tea in
lavish interiors. But you can sense a certain sadness in his art — figures appear wistful, slouched in chairs, almost alienated from each other.
With fewer works by Hunter (1877-1931), who sadly lost most of his works in the 1906 San Francisco earthquake, Hunter is the least consistent of the group. Producing work erratically, he would draw on the spot using charcoal, pen and ink and watercolour. But of his finer examples, the Van Gogh-esque Street In Venice emanates tremendous colour and light.
What is apparent when viewing the works, first shown at London's Royal Academy, is that all four artists dared to take on board elements of the French avant-garde to create something really refreshing. (Helen Monaghan)
PAINTING Alan Davie
National Gallery Of Modern Art, Edinburgh, until Sun 14 Jan
Davie's wonderfully weird art
The Aian det’ retrospective is a magical mystery tour through a colourful, abstract i“.i‘clsc’(ii)c> itiliere imaginatiOit and tliOught are allowed to roam freely, For over 40 years Davie has been comintiiiiiig \‘.:th his unconscious mind, embiacing the spiritual zeitgeist of each ciecacle to create wonderfully weird art
During the I9SOs, Dawe was influenced by the abstract expressionism of Pollock, the theories of Jung and the freestyle form of Jazz Here, Dci\.'l€ allows the brush to swoop onto the canvas, sweep across it, circle arOunci‘, dab and smear until it :s full of colour and shape. Seascape Erotic and ling/mg Space are two paintings from this decade where the milieu of influences is apparent, The latter perfectly captures the erratic, itaward notes of jazz
In the 60s and 70s, DaVie becomes more controlled and centred. Images emerge from the primordial psyche of the preVious decade. He also becomes an artistic anthropologist adopting the signs and symbols of Aboriginal tribes, North American Indians and Carib petroglyphs. Unifying them to create a unique sign language Hallucination With A Nine Eyed Sea Monster, one of a few hallucinations from the 80s, recreates the folklore and mores of tribal culture in bright, bold colour,
Bringing the Exhibition tip to date, Alchemists Mirror and Magician’s Mirror, reflect the potency of magic in tribal Culture and also the magical spell that DaVie himself has cast With his art, (Isabella Weiri
art@list.co.uk
Artbeat
News and views from the world of art
MARKET IN DENNISTOUN invites all those who live/work in the G31 postcode area to make a postcard inspired by their locale for the G31 2000 Open exhibition which opens on Sunday 10 December, 2—4pm. All you need to do is pick up an invite from Somerfield in Dennistoun or from art venues in Glasgow. Alternatively, call 0141 556 6569 ext 212 for more information. Deadline for entries is Sunday 3 December.
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open to am Sc '1ft.s"—:iaseri art
up to three years out o" BA i,' '
Out of MA, 0' friia' tea' lift i’" ' i.
MA students Seiic: A‘) 'sAE t‘:(l’2's- ) to NWSP, Collectine Gait-i 2.? 31—1 Cocikburii Street, iciii‘ba'm, I ll' " Sunday 7 January 200i For ‘..it'~' detazls contact Sara" or‘ 01 s"! U, ‘. "
TEXTILE DESIGNER JAMES Donald, the brains behind Pick One working weave studio based in Newhaven, Edinburgh, has received a Scottish Arts Council award of £3,490 towards the purchase of a Louet Computerised Loom, the only loom of its kind in Scotland. As Donald supplies fabrics to many establishments across Scotland, the loom will enable him to take over production, thus retaining more control over quality and design. To view his work, check out the website: www.pickone.co.uk APPLICATIONS ARE NOW anaiaaii-r- the prestigious Alastair Salt/riser: It". Scholarship 200i T'ie award is riot-r 'r. painters ll\.’lll(} arid i.'.orl:iiig Ill Sc of '2 who have trained at one of The ion Scottish art colleges, ageci bet.-.c-c-i. 2‘, and 35 years old, and giro rage o.e' " last three years at least, made the transition from college to outside \Jrorlcing ei‘A/iroiiirieit‘, ill) for grain purse of up to thGOO, 'i' e required to use the sclioiaish i; to '14.. for three to six ritoiiths betscr-r ’.'.a’ ' and October 2001 Etta; forms (:“J' available from the RoyaI Sc of“. sr Academy, The l.l()til‘:(l, Eri "lIL.’”l' , Eli/ 2EL 'marlc envelope Sahese" Sr“ o a' u ' or by phoning 013‘. 225 667i t date is l/l()'ldci‘/ 8 January
Be creative on a postcard: Market's local invitation
30 I.o.—‘i;' Dec 2306 THE lIST 83