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‘PEOPLE WERE VERY SUSPICIOUS OF IMPRESSIONISM'
Liz Shannon considers the enduring appeal of work by the ground-breaking French Impressionists and the Scots they inspired
mpressionism is one of the best-loved art
movements of modern times — all those
blockbuster exhibitions and ‘Water Lilies~ biscttit tins can’t be wrong — bttt in populism's wake. the revolutionary nature of the artworks can be lost.
‘When Degas‘ “L'Absinthe” was first exhibited it caused complete consternation.‘ says Frances Fowle. curator of Impressionism & Scotland. which features over [00 paintings. pastels and watercolours from national and overseas collections. ‘People reacted to both the painting’s subject and execution with shock.‘ While Degas‘ works may not cause today’s gallery visitors to recoil in horror. the Impressionism was a dramatic break from virtually every artistic precedent.
The National Gallery‘s new exhibition aims to remind us of that shock factor. by examining the legacy of the Impressionist works collected in Scotland. and the impact of Impressionist artists on the nation’s painters. As anyone with a passing acquaintance with Scotland‘s public art collections will be aware. Scots collectors were not afraid to purchase Impressionist art. as Fowle confirms: ‘People were very suspicious of Impressionism at the end of the 19th century. btit. Scotland was comparatively open to this new. modern art.~
Many wealthy Scots. particularly those who had
built their fortunes as industrialists and wished their rt collections to be as forward looking as their
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businesses. considered Impressionist art an appropriate acquisition. as Fowle points out. ‘Important and influential collectors such as
88 THE LIST 17—31 Jul 2008
arrival of
Alexander Reid in Glasgow bought works by the painters of the Barbi/on group and Hague SchooI.‘ Scottish collectors were also less concerned that art represent an edifying moral message. as tnttch Iinglish art of the period did. However. this did not
mean that all the Iirench Impressionists‘ subjects of
daily modern life were transferred to Scottish art.
‘Scottish painters tended not to set works in bars or
cafes. which were features of French Itnpressionism.‘ says I’owle. "I‘his was largely due to the powerful influence of the 'I‘emperance movement in Scotland. Very few wealthy collectors with interests in industry wanted to risk collecting art that could be seen as encouraging their workforce to drink.‘ This was a particular risk. as. after their purchase. collectors showed their new works in public exhibitions.
Iixposure to the work of this revolutionary new art movement had a definite impact upon Scottish artists. which the exhibition demonstrates. hanging Iirench and Scottish paintings side by side. thus enabling visitors to compare them. Yet. as Iiowle is keen to highlight. ‘Scottish artists were responding to art coming from Iiurope. They did not simply soak tip Iiuropean influences and produce derivative works. but used it as an inspiration for the creation of art that tended to be more decorative and symbolic. We often forget that Scottish artists were very international in their outlook. and their work was admired and collected around the world.‘
Impressionism & Scotland, National Galleries of Scotland, Edinburgh, Sat 19 Jul-Sun 12 Oct.
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Mark Neville With Fancy Pictures (which features Neville‘s new 16mm film and audio-slide installation of still photographic work) the artist captures 21 st century Bute in wonderful living, breathing colour. See review, page 87. Mount Stuart, Isle Of Bute. until Tue 30 Sep.
Harry Smith Anthology Remixed This visual celebration of the groundbreaking 1952 Anthology of American Folk Music is a fascinating insight into an influential point in the history of Western music. See review. page 87. CCA. Glasgow, until Sat 26 Jul. Cathy Wilkes Wilkes' enticing, mock-theatrical installation compels viewers to peer into cracks, jars and fish tanks, searching through the rubble of an event we appear to have just missed. See review, page 88. The Modern Institute, Glasgow, until Sat 6 Sep.
Altered States of Paint The 608 spirit of far out psychedelia is brilliantly captured in this excellent group show, which also explores the nature and potential of painting. See review, page 88. DOA, Dundee, until Sun 7 Sep. Impressionism & Scotland This major new exhibition explodes notions of the French Impressionists and the Scots painters they inspired as insipid biscuit-tin wrapping. See preview, left. National Galleries of Scotland. Edinburgh, Sat 79 Jul—Sun 7 2 Oct.