100 Scottish Artists: Part 2 - Esther

When my head is clear, I like doing lists of artists, works or themes on Facebook. Sometimes these lists will appear in the blog, because if I’ve done the finding of images, the words will follow. The picture collection is the time-consuming bit (which doesn’t say much about the writing, but never mind). 

Last September, I was beginning a new list. There’s always a sense of hope & excitement starting a new list. Sad, I know but art is EXCITING.

“I’m doing a ‘100 Scottish Artists’ list.”

“Okay…”

“You can get an easy fifty & I’d say eighty if you think about it. Without looking anything up.”

Surprised, “Really?!”

“Yes! Try it.” 

“Nah.” 

Exactly. Why would he? I had just said I was going to.

Despite both being arty types, this is the level of chat around this list that my partner & I had. He could think of an easy fifty, you know.   

& he’ll read this & not remember the conversation, haha.

William Strang (1859–1921), Janet Elizabeth Ashbee (1878–1961), 1910 & The Artist’s Wife, Agnes Rogerson Strang (c. 1860-1933), 1904

William Strang not only produced beautiful paintings such as this of a fellow artist but was a hugely gifted printmaker. He illustrated books & created fine portraits, being sought-after & admired in his lifetime. His draughtsmanship was phenomenally good – so much so that I’m also posting an incredible drawing of his wife rendered in red, black & white chalks. Strang’s son David gifted many of his father’s etched works to the National Gallery of Scotland & we can be very glad he did so.

Bessie MacNicol (1869-1904), French Girl, 1895

To my mind, Bessie is a bit of a star. In her short & sometimes tragic life she developed a highly distinctive style of impressionistic painting. That said, French Girl is different again – the pose & sense of movement as well as the darker colour choices veer away wildly from her en plein air pieces. Overall, it has the feel of something well ahead of its time, at least twenty years. For one so accomplished, there are very few of Bessie’s works known to survive. After her own & subsequently her husband’s death, his second wife sold them off. As disappointing as this might seem now, in 1908 it was probably the most practical thing the poor woman could have done.

James Guthrie (1859–1930), The Wash, 1882–3

Talking of the stars of the Scottish art world, Guthrie is – as I’ve said before – the man. This understated piece is brilliantly lit & expertly rendered, the textures of the foreground contrasting with the gentle ruggedness of the scene behind. The palette is muted & perfect for the mood, time of day & subject matter it represents.

Elizabeth Blackadder (1931-2021), Italian Landscape, 1960

Better known latterly for her cats & florals (& I have nothing against those), Elizabeth Blackadder nevertheless created some stunning landscapes such as this in a range of media.   

Eduardo Paolozzi (1924–2005), Four German Songs, 1974–6

Despite living a life many Scots-Italians experienced at the time (parents arrive in Scotland, open ice cream shop, holidays in Italy, the suffering of internment during the war), Paolozzi is credited in many quarters as being a Pop Art pioneer. I love all the elements of this screenprint, which is one of a set of nine. The colours, the shapes, the patterning all attract my attention in this particular piece, although the others in the set are each fascinating in their way.  Visiting Scottish art galleries, you practically trip over Paolozzi’s works; they’re so varied & he was so prolific & willing to move through various art disciplines & media.

Henry Raeburn (1756–1823), Reverend Dr Robert Walker (1755–1808) Skating on Duddingston Loch, 1795

Sometimes referred to as “The Skating Minister,” this painting is merely attributed to Raeburn. It is one of the best known paintings in Scotland but the composition is unlike that in his other works & there is no evidence in early writings about Raeburn that he painted it…& so there is doubt. On the other hand, Raeburn was a friend of Walker – the painting was passed through the Rev’s family - & was a trustee of his estate. & as some have said some of the details, painted so finely, have the mark of a Raeburn. It is my considered & learned opinion that those who debate attributions in the art world are often total party poopers.

Arthur Melville (1855–1904), The Chalk Cutting, 1898

Particularly for the time, this is an incredibly progressive & unusual work. Although the location of the subject is not known, it is thought to represent a chalk pit somewhere in England. Melville was influenced by French watercolourists & Naturalists as well as en plein air painting. In spite of experimenting with styles & application of paint, Melville’s work could be highly detailed & naturalistic & was in turn influential on the Glasgow Boys. 

Jack Vettriano (b. 1951), The Pier

Having grown up in poverty, Jack is a great example of someone that has got where he is through his own hard graft & determination. Had he had an art school education, his work might have suffered & he’d not have the same style. Despite rejections by the art world (snobbery when the market is good…) it’s been suggested he could probably live on the royalties from cards & prints. He’s controversial & there’s a tortured element to Jack but he’s well-known, he’s found what works, he’s developed his own practice & a very distinctive style. Good luck to him.

Adrian Wiszniewski (b. 1958), Barber, 1984

One of a group dubbed “The New Glasgow Boys,” Wiszniewski started out at the Mackintosh School of Architecture. Although Barber depicts an everyday activity, the style, composition & perspective lend it a queasy, fantastical feel.

Stephen Conroy (b.1964), Self Portrait I, 2005

This reproduction of Conroy’s self portrait doesn’t do it justice. It has been given a place of prominence in Kelvingrove Art Gallery & Museum where it is well lit & easily appreciated. Situated there, it causes us to reflect; the cross in the background mirrors Dalí’s epic crucifixion at Kelvingrove, as does the artist’s downward gaze. All of this may or may not have been in Conroy’s mind at the time of painting, but it’s a sensational theory & genius hanging…