“Mony a mickle mak’s a muckle” is a strange & somewhat enigmatic phrase that constantly hovers around Scotland, waiting to be occasionally used & often baffling those that hear it. It’s always a surprise when someone comes out with it. Basically meaning that lots of little things put together make a big amount, it’s one of those particularly pointless proverbs that people use as a kind of silence filler, like “take care of the pennies & the pounds will take care of themselves.” What?
More confusingly, apparently “mickle” used to mean “a lot” too but it was corrupted into what we have today. A version is used in England it seems, but we’re here today to look at Scottish artists. Notice I’m not saying “great Scottish artists,” nevertheless there is quite a diverse range of styles & talents.
What’s worth remembering here is that Scotland remains relatively small. With a population of only around 5.5 million, you’d think it might be difficult to find one hundred. As with the 100 Great Artists blogs, I could actually have gone on to more, but one hundred makes a point.
The point of course is that Scotland’s smallness is sometimes its advantage. Many artists have had to go further afield to be inspired to create something new. You can’t afford to get bogged down with the weather & the gloom forever. Travel, sunshine & - unfortunately - empire has resulted in innovation & treasures we could never have dreamed of in the seasons of interminable darkness. Conversely, there are many Scottish artists that are inspired by that too. Yes, we’re small, but we’ve been creative for hundreds of years. As regards Scottish artists then, mony a mickle does indeed mak’ a muckle…
Keith Henderson (1883-1982), Pilot & Navigator Confer, c.1940-45
Keith Henderson’s art is stunningly good. Its richness & accomplished, recognisable style are immediately appealing but he evokes a warmth & depth of human emotion that is hard to achieve. This intimate pose & composition create an urgent, charged atmosphere.
Doris Clare Zinkeisen (1898-1991), Self Portrait
Put on your best frock & cape for your self portrait – why not? This glamorous & dramatic figure belies some of the harrowing war art that Zinkeisen later produced.
David Wilkie (1785–1841), John Opie (1761–1807), c.1805
Wilkie’s painting prowess is never in doubt but I cannot ignore that peculiar finger. Once you notice it, you can’t ignore it. Perhaps John Opie’s finger was like that, who knows?
Robert Burns (1869–1941), Diana and her Nymphs, c. 1926
Scottish art goes exotic. This is a complex composition with layers & depth, yet the palette is limited to a few colours. Overall it’s almost illustrative with pattern creeping in over realism. It’s an exciting & vibrant way to depict the myths & legends previous artists favoured.
James Cowie (1886-1956), A Portrait Group, c. 1933/40
There’s something troubling in these expressions, despite by the background idyll. The original figures were Bellshill Academy pupils where Cowie was teaching. He drastically altered the piece in 1940 however such as turning one of the girls into an older woman.
Alasdair Gray (1934-2019), Portrait of Katey
At first glance it’s quite a sketchy portrait but the hours of drawing & practising to achieve such a style are innumerable. Gray’s ability to render not only likenesses but to sum up believable & natural - almost casual - poses is extraordinary.
David Scott (1806-1849), Nimrod, 1832
With Scott, it’s all a bit like this. Overwrought.
John Byrne (b. 1940), Hallelujah! 2016
For as little detail as there is in this image, that figure leaps out as the work of John Byrne. Despite his ability to work in a range of media & styles, there is always a Byrnesque element to his people.
William McCance (1894-1970), Portrait of Joseph Brewer, 1925
We’ve all been in rooms lit like this. On the one hand, it looks unbelievable in terms of metallic flesh tones but on the other, the pose is realistic, almost ordinary. McCance takes this opportunity to exaggerate the colours & this lends his portrait an almost futuristic air.
Robert Colquhoun (1914-1962), Figures in a Farmyard, 1953
Have you ever seen such a raffish pig? Colquhoun’s painting bears little resemblance to a conventional farmyard scene but the pig puts you there at once. To be honest & in part because of the claustrophobic composition, to my eyes there’s something of a Nativity in it. Ghastly heathen that I am.
Comments
Post a Comment