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Category: Scottish colourists

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Monday Morning Art School: continuing education

We learn from studying our peers and the painters who’ve gone before us.
Victoria Street, oil on linen, 16×20, by Carol L. Douglas
Bruce McMillan emailed me last week. “Just in case you feel you’re painting a lot, in 1911, from early August to late September on Monhegan, Robert Henri painted 300 paintings, most of them on 12×15 wooden boards, his last major foray into marine art.”
I churned out fifteen largish canvases in thirteen days during my Parrsboro residency and wondered if I was sacrificing quality for quantity. But I’m familiar with Henri’s marine paintings; they’re simple, monumental and brilliant. Bruce’s reassurance came at exactly the right time.
Once we’re done with art classes, we learn mostly from observing other artists. When we see something that we admire, we want to incorporate the essence of that idea into our work. It’s not stealing; it’s how all art develops.
Miss Margaret, oil on canvasboard, 8×10, by Carol L. Douglas. Maggie was my roommate for two weeks.
Alison Hill is a painter I’ve known since before I moved to Maine. We were set up next to each other at Cape Elizabeth Paint for Preservation last month, so I had time to study her brushwork. She lays it down once and leaves it.
A writer told me recently, “you can rewrite that ending eight times and it won’t necessarily be better; you’ll just have eight different endings.” At least with the written word, they’re separate. In alla prima painting, those previous iterations lie there in the murk and muddy up the top layers.
I’d never heard of Tom Forrestall before this current trip. He’s sometimes called the Canadian Andrew Wyeth because of the precision of his egg tempera technique. But beneath that is a light, quirky vision. It’s magical realism unencumbered with social commentary. Can this kind of ruthless observation be learned? I won’t know until I try.
Clearing to the west, oil on canvas, 12×16, by Carol L. Douglas
Tara Will is a pastel painter from Maryland. She has never met a compositional rule she’s not willing to bend, break or pummel into submission. I look at everything she posts because her paintings are always colorful, light, and energetic. She keeps pastel lean and fresh.  
Marc Granboisis a plein air painter from Quebec. His snow and ice are tremendous, but his skies are what I’m interested in these days. He can pull moody, brooding, and dramatic out of a leaden northern sky. There’s tremendous energy in his linework and patterning.
Every artist needs to know art history to understand where he or she fits into the great saga of art. A number of Nova Scotians commented that my painting style looked very Tom Thomson or Group of Seven. That’s partially because they’re familiar to Canadians, but it’s also because I have studied them for many years.
Recent landslide (Cape Sharp), oil on linen, 18×24, by Carol L. Douglas. This painting is the only one that’s going to get a studio revision–in this case, a crop, I think. I removed something at the last minute and it unbalanced the composition. 
More recently, I’ve been thinking about the Scottish Colourists, particularly Francis Cadell. Both the Canadians and Scottish groups are post-impressionist, but they’re as interested in a sense of place as they are in formal order and structure.
Most of the painters I’ve mentioned are not superstars; they’re my fellows in the trenches. Who do you admire right now? What can you learn from their painting?

Your list will be different from mine, but thinking about what you like in your peers’ work gives you an idea of what you might want to change in your own. It’s a moving target. In a year, we’ll be talking about entirely different artists.

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The Golden Hour

My Edinburgh portrait is finished. Now I can head to Iona and some plein air, once again in the footsteps of the Scottish Colourists.
The Golden Hour, Carol L. Douglas. This isn’t a perfect photo, but is the best I could do at the time.
In some ways you might have found the execution of this painting brutally workmanlike. There was no flailing or fits of self-discovery; I save those for my own studio.
I started on Wednesday of last week. I laid down my brushes for the final time at 4:26 PM yesterday. That was exactly four minutes before I’d agreed to finish. Most of those days, I worked strictly from 9 to 5. The exception was Tuesday, when I overran my hours and worked until after sunset. But that wasn’t panic-painting; I simply needed more time for Poppy (the dog), who hadn’t figured in my original plan.
The client stated up front that he wouldn’t look at the painting until it was done. Indeed, he carefully averted his eyes whenever he entered the drawing room.
My worksite.

His only request was that the painting be in the manner of Francis Cadell. I studied a number of Cadell paintings over the winter. Once I entered the drawing room, however, I resolutely looked at no other paintings, except the James Morrisonlandscape peering over my shoulder. Morrison’s a terrific modern Scottish landscape painter and there are two of his paintings in this townhouse. It was a unique opportunity to study his work closely.

Interior with opera cloak, date unknown, Francis Cadell, courtesy Portland Gallery. This was painted just a few doors down from this townhouse.
I did see one Cadell painting at the preview for Bonhams’ Scottish Sale. But otherwise, I cloistered myself from other painters for the duration. Studying art while in the midst of an important painting muddies my vision.
We’d planned an unveiling for 4:30 yesterday. Yesterday, my client chipped a tooth and needed emergency dental work. By the time he came back, I’d cleaned up my kit and we’d returned the drawing room furniture to its usual places. He looked at the painting, made a brief, eloquent, and complimentary speech, and then turned back to spend more time with the piece. I can’t remember a word he said, but the model was happy, the patron engaged with the painting, and I breathed a great sigh of relief.
My client inspecting the finished work.
Someone asked me how I was able to estimate my time so precisely. Part of that comes from painting for a long time. I’m pretty certain how long it takes to finish a canvas. But part of that is also confidence—not in my own abilities, but in God. “Which of you fathers, if your son asks for a fish, will give him a snake instead?” Jesus famously asked. I get up every morning knowing that the God who has brought me this far intends to carry me through. That saves me a lot of worry and self-doubt.
I’m off to Ionain two hours and still have not packed. I first visited this island in 2016. Since then I’ve longed to return and paint its white sands and tropical aquamarine waters. This takes me, once again, in the footsteps of the Scottish Colourists. Here Cadell worked in a much looser style, as befits plein air, but on Iona I anticipate working in the manner of nobody but myself.
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When the artist likes his subject

I’m studying Francis Cadell before a portrait commission takes me to his home town.
Portrait of a Lady in Black, c. 1921, Francis Cadell, courtesy National Gallery of Scotland.
Winston Churchill hated his state portrait, painted by Graham Vivian Sutherland. It so rankled that his widow, Clementine Churchill, had her secretary burn it more than a decade after his death. That’s the fate of a portrait that pisses everyone off. It must have felt like a stinging rebuke to Sutherland, who was blameless.
Sutherland was not primarily a portrait artist, but a tapestry designer and landscape painter. He thoroughly embraced modernism. There are some artists who could combine that with warmth, but for most of the 20thcentury, modernism was coupled with cool disdain. Sutherland’s portraits, mainly done in the 1950s, are icily insightful. Many illustrious people sat for him, so he was a logical choice for the parliamentarians who commissioned the painting. Sutherland was fashionable.
Interior, The Orange Blind, c. 1914, by Francis Cadell, courtesy Kelvingrove Art Gallery and Museum. Unless Cadell was on a ladder, this is an imagined viewpoint.
Another painter who did portraits as part of a larger ouevre was the Scottish Colourist Francis Cadell. He was skilled at still life, interiors, and plein air landscapes. He was also a portrait painter in his native Edinburgh. Unlike Sutherland’s, his portraits are sympathetic. They tie their subjects to what interested him most—the house and furnishings that provided the setting.
Lesser thinkers might have made a cynical statement about materialism, and in more sophisticated cities, that would have been lapped up. However, there’s absolutely no condescension in Cadell’s worldview. He is as interested in interiors as they are. As an artist, he comes across as a thoroughly nice man.
The Parting, c. 1915, Francis Cadell, courtesy National Gallery of Scotland.
Cadell was the only Colourist to serve in the Great War. Before he was sent to the Front, he did a series of drawings in ink and watercolor. These are fast, witty drawings built on graphic design and splashes of color.
His later paintings worked off the same idea. He created meticulous, exciting value compositions in white, cream and black, and shot them through with highlights of bold color. That color was often red.
I’m studying Cadell because I’m going to Scotland next Spring. I’ll do a portrait, in a home on the next street to where Cadell lived and worked for nearly 12 years. He painted his Portrait of a Lady in Black, above, in his Ainslie Place studio. As with so many of his paintings, it’s as much a portrait of a place as of a woman. In fact, the model, Bertia Don Wauchope, was not a client at all, but his regular model.
We read the shape between the fan and her torso first, because it’s the highest contrast in the painting. Rapidly, though, we begin to see the spaces defined in mauve, and the reflection of her great hat in the mirror. It’s a stunning monochromatic composition alleviated only by the pink of that ridiculous flower and a slash of lipstick. And yet there’s nothing dehumanized about it.
The Vase of Water, 1922, Francis Cadell. His studio had mauve walls, so it’s an indication that the painting was done there.
The key to Cadell’s portraits are, in fact, his still lives. He ruthlessly reduced detail and shadow into blocks of brilliant color. Their main purpose was to provide a brilliantly faceted abstract framework. And yet there is a casualness to them that make them plausible moments stolen from life.
Sticking an international trip into my summer schedule is impossible, so I plan to go in May, as soon as the weather warms enough to paint outdoors. A side trip to Ionaseems inevitable. After all, that’s where I first met Cadell and the other Colourists. This time, I’m bringing my oils.
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White Sands of Iona

“Iona Croft,” by Francis. Cadell, 1920

“Iona Croft,” by Francis. Cadell, 1920
Standing on the small track that passes for Main Street in Baile Mòr on Iona, a local man named Davy gave me a brief precis of local art history. (The similarities of his inflection to that of Canada meant I was able to easily follow him.)
Iona is associated with two Scottish Colourist painters, Francis Cadell and Samuel Peploe. â€śThey liked to paint from Traigh Ban Nam Monach, or the White Strand of the Monks,” Davy told me. Peploe and Cadell first painted on Iona in 1920, returning there most summers.
“Iona Landscape: Rocks,” by Samuel Peploe. Both of these were painted from Traigh Ban Nam Monach.

“Iona Landscape: Rocks,” by Samuel Peploe, was painted from Traigh Ban Nam Monach.
I have only a vague knowledge of Scottish art history—the Glasgow Boys and the “first Scottish Impressionist,” William McTaggart. However I do recognize their position within the world movement toward plein air landscape painting that included Impressionism, the Heidelberg School in Australia, the RussianPeredvizhniki, and, of course, the Canadian Group of Seven.
“Iona, Looking North,” by Francis Cadell, was painted from Traigh Ban Nam Monach.

“Iona, Looking North,” by Francis Cadell, was painted from Traigh Ban Nam Monach looking back toward Mull.
I also felt the pull of the magically flat, cool light of Iona. However, I was booked to go to Staffa in a wooden tour boat. This unlovely but fast thing was custom-built for the tourist trade in 1990 using no plans, and it’s tight and sea-worthy.
Scotland is sometimes described as a nanny state, but in many ways it’s content to let people make their own choices in ways that we Americans have lost. For example, I stood along the forward deck of the ship, instead of packed in the hold with the other visitors. There was no mandatory lifejacket lecture and no particular safety devices on Staffa itself. This was a pattern we were to see over and over. Your safety is your responsibility, an attitude we litigious Americans seem to have lost to our great disadvantage.
Young seals off Mull.

Young seals off Mull.
On the boat trip back to Fionnphort, we were all rather pensive. Very seldom do I feel a strong urge to return to a place, and usually that isn’t shared by my fellow passengers, but the pull of Iona is very strong.  Each of us plotted, in our own way, a plan to return. For me, that means a trip with my painting kit.