Alice Strang - Böcker

Samuel John Peploe (1871-1935) was the eldest of the four artists popularly known as "The Scottish Colourists." Born in Edinburgh, he was drawn to France and returned to paint there frequently, moving in 1910 to Paris, where he moved in artistic avant-garde circles. His painting style gave way to a more contemporary and expressive approach, and he used rich colors applied with more structured brushstrokes. In 1912 Peploe returned to Edinburgh and slowly began to build a successful career as an exhibiting artist. From around 1914 until his death, he sought to paint the perfect still life. A modest selection of props, including roses or tulips, fans, books, fruits, and Chinese vases, were carefully placed in infinite varieties on patterned drapery. In 1929 he explained: "There is so much in mere objects, flowers, leaves, jugs, what not—colors, forms, relation—I can never see mystery coming to an end." This beautifully illustrated book accompanies a major exhibition devoted to the artist in his home town of Edinburgh, and throws fascinating new light on Peploe's life, on the influence of France on his work, and on his posthumous reputation.Published in association with The National Galleries of ScotlandExhibition Schedule:Scottish National Gallery of Modern Art, Edinburgh(11/03/12-06/23/13)

It is Cadell's zest for life and the diversity of his subjects that makes him unique in the group of artists popularly known as the Scottish Colourists. Influenced by direct contact with the European avant-garde movements taking place at the turn of the century and with early knowledge of the work of Matisse and the Fauves, Cadell's paintings are confident and rich with colour. Celebrated for his stylish portraits of Edinburgh New Town interiors and his vibrantly coloured, daringly simple still life's of the 1920s, exceptional in British art of this period, he also captured the beauty of nature, especially in the evocative works portraying his beloved Iona.

J. D. Fergusson (1874-1961) is one of the four artists known as the Scottish Colourists, the others being F. C. B. Cadell, G. L. Hunter and S. J. Peploe. Fergusson was born in Leith, and was essentially a self-taught artist. In Paris 1907 he became involved with the avant-garde scene and exhibited at the progressive Salon d'Automne. More than any of his Scottish contemporaries, Fergusson assimilated and developed the latest developments in French painting. In 1913 Fergusson met the dance pioneer Margaret Morris (1891-1980). Morris's creative dance movements and her students continued to be one of Fergusson's main sources of inspiration and models. In 1929 Fergusson returned to Paris where he was involved with the Anglo-American art circles. Most summers were spent in the south of France where Morris held her celebrated Summer Schools. The couple moved to Glasgow in 1939 being founder members of the New Art Club and of its off-shoot the New Scottish Group. This book reasserts the artist's place at the forefront of British modernism.

Uncover the stories of 45 female painters and sculptors and their influence on Scottish modern art history. In 1885 Sir William Fettes Douglas, President of the Royal Scottish Academy, declared that the work of a woman artist was ‘like a man’s only weaker and poorer’. Yet between 1885, when Fra Newbery was appointed Director of Glasgow School of Art and did much in terms of gender equality amongst his staff and students, and 1965, when Anne Redpath, the doyenne of post-Second World War Scottish painting, died, an unprecedented number of Scottish women trained and worked as artists. This book focuses on 45 Scottish female painters and sculptors and explores the conditions that they negotiated as students and practitioners due to their gender. Many of the artists featured are not widely known and so will be a revelation to readers, while others with established reputations are evaluated afresh. An essay by Alice Strang and artist entries by twenty-one authors uncover and celebrate women’s contribution to this chapter of Scottish modern art history.

Revealing an alternative story of modern Scottish art, A New Era examines the most experimental work of Scottish artists during the first half of the 20th century. It challenges the accepted view of the dominance of the Scottish Colourists and uncovers the hitherto little-known progressive Scottish art world. Through these works, we can see the commitment of Scottish artists to the progress of art through their engagement and interpretation of the great movements of European modern art, from Fauvism and Expressionism, to Cubism, Art Deco, abstraction and Surrealism, among others. Looking at the most advanced work of high-profile artists such as William Gillies and Stanley Cursiter, and lesser-known talents, like Tom Pow and Edwin G. Lucas, A New Era takes its name from the group established in Edinburgh in 1939 to show surreal and abstract work by its members.