Tag: Royal Scottish Academy

Opens tomorrow: Take a voyage of discovery with Glasgow Boy Sir John Lavery

An Irish Impressionist: Lavery on Location

National Galleries of Scotland exhibition at the Royal Scottish Academy building

20 July–27 October 2024

Admission £5 – £19

An Irish Impressionist | Lavery on Location | National Galleries of Scotland

Indulge your wanderlust at the National Galleries of Scotland’s summer exhibition, An Irish Impressionist: Lavery on Location, opening this Saturday (20 July) at the Royal Scottish Academy building in Edinburgh.

Dip your toes in the sun, sea and society of the late 19th and early 20th centuries, viewed through over 90 works by renowned Glasgow Boy, Sir John Lavery. Lavery on Location brings together an array of the Irish impressionists most notable paintings, including many works not usually seen by the public and nearly 20 paintings exclusively on display in Edinburgh.

Tickets are on sale now Book tickets | National Galleries of Scotland.

Take a trip through the extraordinary life of the Belfast-born artist, Lavery (1856-1941), from Scotland to New York via Paris and Morocco. Lavery never travelled without his painting kit, and An Irish Impressionist: Lavery on Location explores some of the locations he visited and was inspired to paint.

Move through the exhibition to experience the glamour of a lost era, with visits to the races, tennis matches and the golf course, or simply relaxing on warm days with Lavery’s family and friends.

See sumptuous portraits, impressionistic landscapes and idyllic scenes of leisure against a backdrop of Tangier, St Jean de Luz, Palm Springs and the Venice Lido. Be whisked away to Switzerland, Spain, Ireland and Italy, as well as to cities such as Glasgow, Seville, Monte Carlo and New York.

Indulge in beautiful seascapes of Tangier from the Ulster Museum, as well as spectacular portraits such as Idonia in Morocco from Glasgow Museums and Hazel in Black and Gold from the Laing Art Gallery.

From the highly finished to the swift impressionist sketch and a uniquely personal style, the range of subjects on show is staggering.

Born in Belfast, where his father ran a small wine and spirits shop in North Queen Street, Lavery was orphaned at the age of three, and moved to his uncle’s farm at Moira before being sent as a ten-year-old to a distant relative in Saltcoats, Ayrshire. He first ran away to Glasgow at the age of 15 and went on to take early morning and evening drawing lessons at the Haldane Academy, completing his training at the Académie Julian in Paris.

Along with a number of his fellow Scottish students Lavery worked at the colony of Grez-sur-Loing, near Fontainebleau, which will be the focus of the first room of An Irish Impressionist: Lavery on Location. Then, back in Scotland in 1885 he became one of the leaders of the much-loved group of artists known as the Glasgow Boys. The Glasgow Boys rebelled against the stuffy Edinburgh-based art establishment and challenged the Academy’s emphasis on historical painting. Instead, their subjects were drawn from everyday life, often painted outdoors.

Lavery quickly attained an international reputation in his early 30s when he received a gold medal at the Paris Salon, the most prestigious art exhibition in the world at the time. Enjoying great success after his move to London in 1896, Lavery combined his talents as a portrait painter with an interest in contemporary events and was later knighted in 1918.

As his style developed Lavery began to share some of the principal tenets of Impressionism. The movement was developed in France in the nineteenth century and is based on the practice of painting outdoors and on the spot. Using lively brushstrokes, these artists often produced works of art rapidly in a single sitting. Like Lavery, the Impressionists were interested in capturing the changing effects of light, frequently exploring this through landscape scenes painted in the open air.

With seven themed rooms, An Irish Impressionist: Lavery on Location will allow visitors to immerse themselves in Lavery’s oil sketches for the Glasgow International Exhibition of 1888, where he had his big break and was commissioned to paint the State Visit of Her Majesty, Queen Victoria.

Journey through Lavery’s travels in North Africa, with mesmerising paintings of snake charmers and camps on his adventures to Fez. For over twenty years, his villa in Tangier, surrounded by beautiful gardens, would become a winter retreat.  

Then experience Lavery’s time as an Official War Artist with scenes in hospitals, submarine pens and air raids during World War I. In the final room you can experience the luxurious lifestyle of post-war society, including visiting the Henley Regatta and racing at Ascot.

Lavery experienced enormous social, political and technological change during his lifetime, yet, despite his travels and worldly experience, Lavery’s connections to home – to Scotland and Ireland – remained strong throughout his long career.

Senior Curator Prof. Frances Fowle said: ‘Lavery was a versatile painter who was equally at home in Scotland, North Africa and the French Riviera. “His paintings offer, on the one hand, a nostalgic glimpse of a bygone era and, on the other, a modern world of sunshine and leisure.

“Technically he was a true impressionist, intent on capturing a particular moment or atmospheric effect – perhaps night falling on Tangier, or early morning light, dancing on the crest of a wave.”

Guest Curator Kenneth McConkey said: ‘In a career that spanned over sixty years, Lavery’s output was immense. He saw carthorses become ‘horse-power’, windjammers transform into steamers, and flying machines reborn as air liners.

“Against a backdrop of immense social and political change, in the land of his birth, he witnessed the first cracks in the British Imperial entablature. Visual reporting skills, perfected in Scotland, took him to extraordinary situations and while his works develop in fascinating ways, their basic premises – setting down what was before him – remained constant.

“The same remarkable hand that brought us a Dutch Cocoa House in 1888 takes us to a tea-table in Palm Springs in 1938.”

This exhibition is organised by the National Gallery of Ireland, Dublin, in collaboration with National Museums NI and the National Galleries of Scotland.

For more information and to buy tickets visit An Irish Impressionist | Lavery on Location | National Galleries of Scotland.

Grayson Perry: Smash Hits, the largest exhibition by the celebrated artist, to be presented in Edinburgh

Grayson Perry: Smash Hits  

Royal Scottish Academy (presented by National Galleries of Scotland)  

22 July – 12 November 2023  

Grayson Perry | National Galleries of Scotland 

This summer, the biggest ever exhibition of Sir Grayson Perry’s work will take place at the National Galleries of Scotland.

Covering his 40-year career, Grayson Perry: Smash Hits will take over the Upper Galleries of the Royal Scottish Academy in Edinburgh from 22 July until 12 November. This will be the only opportunity to see this exhibition, which offers an exclusive look at the celebrated artist’s lifetime of creation. 

Perry has gone from taking evening classes in pottery to winning the Turner Prize, presenting television programmes on Channel 4 and writing acclaimed books. Always keen to do the unexpected, pottery allowed him the opportunity to indulge his fascination with sex, punk, and counterculture amongst other things, in the most unlikely and polite of art forms. 

Today, he is one of Britain’s most celebrated artists and cultural figures. Grayson Perry: Smash Hits not only includes his most famous works, but also the first pieces he made as a student in Portsmouth. One such treasure is Perry’s earliest plate, made during his first week at evening class, Kinky Sex (1983).  

This comprehensive exhibition, which encompasses more than eighty works, has been developed in close collaboration with the artist and Victoria Miro gallery. Instead of being presented chronologically, the show offers a journey through the main themes of Perry’s provocative art, including masculinity, sexuality, class, religion, politics and identity. 

Grayson Perry: Smash Hits will display subversive pots, intricate prints, elaborate sculpt sculptures, and huge, captivating tapestries – all imbued with Perry’s sharp wit and social commentary. 

Grayson Perry: Smash Hits will bring together all the artist’s meticulously detailed prints and imaginary maps. The exhibition will feature many of his tapestries, such as the rarely shown Walthamstow Tapestry (2009) which, at 15-metres in length, presents a birth-to-death journey through shopping and brand names.

Visitors will also encounter the intricate cast-iron ship, Tomb of the Unknown Craftsman (2011) which was the centrepiece of Perry’s 2011 exhibition of the same name at the British Museum. The tomb is a memorial to all the anonymous craftsmen of history.

Two rooms centre on the monumental tapestry series: Vanity of Small Differences (2012), which focus on class and are loosely based on William Hogarth’s A Rake’s Progress, as well as House for Essex tapestries (2015), which explore the life of a fictional Essex woman Julie Cope. 

The final room will exhibit new works made in the past few months especially for the exhibition. These include a richly detailed tapestry, a large woodcut print, and pots and plates which explore themes of national identity.

Perry’s latest pots, in the form of medieval beer flagons, are decorated with traditional slipware techniques and reference subjects ranging from the polarising effect of internet debate to heraldic iconography.

This room will also include objects chosen from his recent Channel 4 docuseries Grayson Perry’s Full English. Perry travelled around the country to try and uncover what Englishness means today. He invited interviewees to select personal items which to them represented Englishness.

Piqued by the opportunity to show some of these items, alongside his new works on Englishness in Scotland, Perry has included various objects from a pub sign to a football flag, and a teacup to a letter from the Queen. 

Grayson Perry said: ‘I feel honoured, excited and also daunted by the thought of seeing the largest ever exhibition of my work this summer in Edinburgh.

“Honoured to be given such an opportunity in such a fine gallery, excited to share my smash hits with the Scottish audience and the festival crowds. Daunted because whenever I walk amongst a substantial show of my art the same thought floods into my head, ‘oh my god the man hours!’

“Just one of the grand rooms like those of the Royal Scottish Academy could easily hold two, three, four years of my studio life such is the density of my works. These objects contain so much for me, my hopes, my ideas, my lusts, my laughter, my pride, my love. What they contain more than anything is my time. Forty smashing years.’ 

John Leighton, Director-General of the National Galleries of Scotland, said: ‘This exhibition, the biggest Grayson Perry show ever held anywhere in the world, offers a unique opportunity for visitors to discover the scope of the artist’s practice.

“It has been forty years since Perry first started making his pots and plates, and twenty years since he gained international acclaim when he won the Turner Prize; it is the ideal moment to celebrate Perry’s achievements to date.’  

A keenly awaited Edinburgh tradition returns: Turner in January

TURNER IN JANUARY  
1 January – 31 January 2023, open daily 10am – 5pm  
Royal Scottish Academy
The Mound, Edinburgh. EH2 2EL  
0131 624 6200 | nationalgalleries.org  
Admission free  

 
Opening on New Year’s Day 2023, the National Galleries of Scotland (NGS) is pleased to welcome back visitors to their yearly tradition: Turner in January.

Scotland’s famous collection of Joseph Mallord William Turner watercolours was left to the nation by the great art collector Henry Vaughan in 1900. Since then, following Vaughan’s strict guidelines, they have only ever been displayed during the month of January, when natural light levels are at their lowest. Because of this, these watercolours still possess a freshness and an intensity of colour, almost 200 years since they were originally created. 

Turner in January, the annual exhibition of these watercolours in Edinburgh, is a keenly awaited tradition for many people in Scotland. The 38 watercolours include dramatic landscapes from the Himalayas, the Swiss Alps, and the Isle of Skye, grand visions of Venice, and captivating seascapes. They will take you on a journey through Britain, Europe and beyond, and guide you through the life and career of this iconic artist.

Turner was the most famous British artist of the 19th century. In a career spanning over 50 years, he experimented constantly with technique and colour and created landscapes that still astonish today.

Turner developed new ways of painting in watercolour and revolutionised ideas of what could be achieved in the medium. Through a combination of exceptional talent and incredible hard work, Turner was able to capture in paint the sublime beauty of the natural world.

Taking over two large, spacious rooms within the Royal Scottish Academy, Turner in January contains all 38 watercolours from Henry Vaughan’s gift to the nation, plus the exciting addition of the mesmerising Bell Rock Lighthouse (1819).

In 2023, NGS is delighted that this much-loved annual exhibition is made possible thanks to players of People’s Postcode Lottery.

Charlotte Topsfield, Senior Curator of European & Scottish Art at the National Galleries of Scotland, said: ‘As we enter the New Year, Turner’s watercolours bring light to the dark days of January.

“The brilliantly preserved Vaughan Turners, and their accompanying tradition, hold a special place in the hearts of our visitors. We look forward to welcoming you back’. 

Hidden Van Gogh self-portrait discovered by National Galleries of Scotland

Sensational find to go on display in Edinburgh this summer

The National Galleries of Scotland has discovered what is almost certainly a previously unknown self-portrait by Vincent van Gogh.

Believed to be a first for a UK institution, the mysterious image was revealed by an x-ray taken when art conservators examined Van Gogh’s Head of a Peasant Woman of 1885 ahead of the forthcoming exhibition A Taste for Impressionism (30 July–13 November) at the Royal Scottish Academy, Edinburgh. Visitors will be able to see the amazing x-ray image for the first timethrough a specially crafted lightbox at the centre of thedisplay.

Hidden from view for over a century, the self-portrait is on the back of the canvas with Head of a Peasant Woman and is covered by layers of glue and cardboard. NGS experts believe these materials were applied ahead of an exhibition in the early twentieth century. Van Gogh often re-used canvases to save money. However, instead of painting over earlier works, he would turn the canvas around and work on the reverse.

It may be possible to uncover the hidden self-portrait, but the process of removing the glue and cardboard will require delicate conservation work. Research is ongoing as to how that can be done without harming Head of a Peasant Woman.

Until then, the world can enjoy the tantalising discovery through a ghostly and utterly compelling x-ray image. It shows a bearded sitter in a brimmed hat with a neckerchief loosely tied at the throat. He fixes the viewer with an intense stare, the right side of his face in shadow and his left ear clearly visible.

Professor Frances Fowle, Senior Curator of French Art at the National Galleries of Scotland, said: “Moments like this are incredibly rare. We have discovered an unknown work by Vincent van Gogh, one of the most important and popular artists in the world.

“What an incredible gift for Scotland, and one that will forever be in the care of the National Galleries. We are very excited to share this thrilling discovery in our big summer exhibition A Taste for Impressionism, where the x-ray image of the self-portrait will be on view for all to see.”

The condition of the underlying self-portrait is not known but, if it can be uncovered, it is expected to help shed new light on this enigmatic and beguiling artist.

Later in date than the Head of a Peasant Woman, the hidden painting is likely to have been made during a key moment in Van Gogh’s career, when he was exposed to the work of the French impressionists after moving to Paris. The experience had a profound effect and was a major influence on why he adopted a more colourful and expressive style of painting – one that is so much admired today.

Head of a Peasant Woman entered the NGS collection in 1960, as part of the gift of an Edinburgh lawyer, Alexander Maitland, in memory of his wife Rosalind. Dating from an early period in Van Gogh’s career, the painting shows a local woman from the town of Nuenen in the south of the Netherlands, where the artist lived from December 1883 to November 1885.

Painted in March or April 1885, it seems to be a likeness of Gordina de Groot (known as Sien) who was a model for Van Gogh’s early masterpiece The Potato Eaters of 1885 (Van Gogh Museum, Amsterdam). Her facial features, white cap and simple work clothes are sketched in oil, using broad brushstrokes and earthy colours typical of French realist artists such as Jean-François Millet, whom Van Gogh greatly admired.

In 1886 the artist moved to Paris to be closer to his brother Theo, who was an early supporter of the Impressionists. Exposed to the work of this revolutionary group of artists, Van Gogh lightened his palette and experimented with broken brushwork.

At the studio of Fernand Cormon, where he took classes in painting, he met avant-garde artists such as Henri de Toulouse-Lautrec and Emile Bernard. He also encountered the work of Georges Seurat and Paul Gauguin, under whose influence he began to paint more expressively, using brighter colours.

In the summer of 1887 Van Gogh was experimenting with painting portraits, using friends and also himself as a model. Theo was out of town and unable to assist financially, so Van Gogh re-used canvases to save money. Van Gogh died in 1890 and his brother followed six months later, at which point the artist’s entire oeuvre was left to Theo’s widow, Jo Van Gogh-Bonger.

Probably around 1905, when the Peasant Woman was lent to an exhibition at the Stedelijk Museum, Amsterdam, the decision was made to stick the canvas down on cardboard prior to framing. At this date the Peasant Woman was evidently considered more ‘finished’ than the Van Gogh self-portrait.

The painting changed hands several times and in 1923 was acquired by Evelyn St. Croix Fleming, whose son, Ian, became the creator of James Bond. It was not until 1951 that it came to Scotland, having entered the collection of Alexander and Rosalind Maitland.

Neil Hanna Photography www.neilhannaphotography.co.uk 07702 246823

Once revealed, the hidden self-portrait will be part of a group of several such self-portraits and other works painted on the back of earlier canvases from the Nuenen period.

Five examples are in the Van Gogh Museum, Amsterdam. Others in the Metropolitan Museum of Art, New York; the Wadsworth Atheneum Museum of Art, Hartford, Connecticut; and the Kunstmuseum Den Haag.

Records in the Van Gogh Museum confirm that in 1929 the cardboard was removed from three of their Nuenen pictures by the Dutch restorer Jan Cornelis Traas, revealing the portraits on the verso.

Pictures: Neil Hanna