richard green

Samuel John Peploe

  • Samuel John Peploe - Roses
    Samuel John Peploe Roses Full details

    BM 120

     

    SAMUEL JOHN PEPLOE rsa

    1871 — Edinburgh - 1935

     

    Roses

     

    Signed lower right: Peploe

    Oil on canvas: 24 x 20 in / 61 x 50.8 cm

    Frame size:

     

    Painted circa 1930

     

    Provenance:

    Aitken Dott & Son, Edinburgh

    John J. Cowen Esq., Edinburgh

    Richard Green, London, 1984

    Private collection, Europe

     

    Exhibited:   

    Edinburgh, The Royal Scottish Academy, The Annual Exhibition, 26th April - 30th August 1930, no. 296

    London, Richard Green, Modern British Paintings, 1985, no. 17

     

     

    “There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end”, Peploe wrote in 1929.[1] Early in 1930 Peploe revisited Cassis with his wife and stayed until the start of June, before returning to his Edinburgh studio and his enduring passion for still life subject matter. Though composed around a single, central vase of roses, with only a white plate behind, the vivid palette and abstract backdrop of this dramatic work make it one of the artist’s most remarkable. The blue and white china sits on a square, grey table whose corner projects to the right of the composition, setting up a sequence of dynamic diagonals across the canvas in striking contrast to the upright flowers. The geometric shapes of brilliant green, black and lilac fabric, swiftly outlined in bold black or broken blue lines, are stacked against areas of white and pale blue above the table and in vertical panels at the top of the canvas, recalling the bright porcelain and luminous white flowers. The striped mauve and green material cropped by the top of the picture, corresponding with the vibrant leaves, was a studio prop Peploe shared with Cadell, whose Edinburgh studio was within walking distance.[2] Perhaps the most arresting elements of this accomplished composition however, are the stunning coral roses, their tight, angular petals only just unfurling and the unexpected dash of mustard yellow on the left.

     

    As well as exhibiting the present work at the Royal Scottish Academy in 1930,[3] Peploe held one-man shows at Aitken Dott & Son, Edinburgh and Alex Reid & Lefevre in London.

     

    In spring the following year he would take part in another exhibition of Les Peintres Ecossais at the Galeries Georges Petit, Paris, this time including the work of Telfer Bear and R. O. Dunlop in addition to Fergusson, Cadell and Hunter.

     

     

    SAMUEL JOHN PEPLOE RSA

    1871 - Edinburgh - 1935

     

    Samuel John Peploe was the eldest of the Scottish Colourists and worked in a style remarkable for its painterly freedom and richness of colour. Together with Francis Campbell Boileau Cadell, George Leslie Hunter and John Duncan Fergusson, whose work was also characterised by the bold handling and use of colour, they were dubbed ‘Les Peintres de L’Ecosse Moderne’ following their first exhibition in Paris in 1924.

     

    Peploe first studied at the Edinburgh College of Art in 1893, and then continued his training in Paris, at both the Académie Julian under Adolphe William Bouguereau (1825-1905), and the Académie Colarossi. At this time he was considerably impressed by the work of Jean-Baptiste-Camille Corot (1796-1875), Jean-Baptiste-Siméon Chardin (1699-1779), Gustave Courbet (1819-1877) and Paul Cézanne (1839-1906). He also admired Diego Velázquez (1599-1660), and seventeenth-century Dutch painters, especially Frans Hals (c1582-1666), whose work he saw on a visit to the Rijksmuseum, Amsterdam, in 1895. During this period, Peploe led a cosmopolitan life, working in Britain, and travelling extensively throughout France, in the company of his friend and colleague, Fergusson, with whom he spent several holidays painting at Etaples, Paris Plage, Dunkirk, Berneval, Dieppe and Le Tréport. In 1896, Peploe returned to Edinburgh and settled at his first studio in Shandwick Place, where the dark surroundings suited the sombre palette of his early still lifes, nudes and figure studies. He moved to Devon Place in 1900, where he developed a more sophisticated choice of subject matter, matched by an increasingly rich application of paint, and to York Place in 1905, where lighter space was reflected in the heightened tonality of his work.

     

    The work of Samuel John Peploe is represented in Aberdeen Art Gallery & Museums, University of Aberdeen; University of St Andrews; Rozelle House Galleries, South Ayrshire; Birmingham Museums Trust; Cartwright Hall Art Gallery, Bradford; Brighton and Hove Museums and Art Galleries; the Fitzwilliam Museum, Cambridge; Pallant House Gallery, Chichester; Gracefield Arts Centre, The Stewarty Museum, Dumfries and Galloway; Lillie Art Gallery, East Dunbartonshire; Dundee Art Galleries and Museums, University of Dundee; National Museum Scotland, Scottish National Gallery of Modern Art, Scottish National Portrait Gallery, Royal Scottish Academy of Art & Architecture, Edinburgh, City of Edinburgh Council, University of Edinburgh; Kirkcaldy Galleries, Fife; the Burrell Collection, Hunterian Art Gallery, University of Glasgow, Kelvingrove Art Gallery and Museum, Glasgow, Glasgow Museums Resource Centre; Ferens Art Gallery, Hull, University of Hull; McLean Museum and Art Gallery, Inverclyde; Abbot Hall Art Gallery, Lakeland Arts Trust, Kendal; Leeds Museums and Galleries; The Courtauld Gallery, the Fleming Collection, Tate Britain and William Morris Gallery, London; Middlesbrough Institute of Modern Art (MIMA); Manchester City Galleries; National Trust for Scotland; Laing Art Gallery,

     

    Newcastle; Paisley Museum and Art Galleries, Renfrewshire; Perth & Kinross Council; The Atkinson, Southport; The Potteries Museum & Art Gallery, Stoke on Trent and Ulster Museum, National Museums Northern Ireland.

    [1] Stanley Cursiter, Peploe An Intimate Memoir of an Artist and his Work, Thomas Nelson and Sons Ltd., London, 1947, p. 73.

    [2] Honeyman described Peploe and Cadell’s friendship as ‘a rare thing. In appearance, manner and talk they were poles apart, but in their love of colour, sunshine and freedom of action they were on common ground.’ T.J. Honeyman, Three Scottish Colourists, London, 1950, p. 66. Honeyman continues: ‘Cadell’s studio was about the only one S.J. ever visited. They often criticised each other’s work, suggesting an improvement here and there, counselling eliminations of some passage or advising a fresh attempt.’ Ibid., p. 66.

    [3] Roses was one of three works Peploe exhibited at the RSA including, Garden – Antibes, no. 198 and Still life, no. 319. Peploe also exhibited a painting entitled Roses at the Royal Glasgow Institute of the Fine Arts in 1930, no.266 (£75), along with a landscape of Iona, no. 259 and Still life, no. 268.

  • Samuel John Peploe - Paris Plage
    Samuel John Peploe Paris Plage Full details

    BL 61

     

    SAMUEL JOHN PEPLOE RSA

     1871 - Edinburgh - 1935

     

    Paris Plage

     

    Signed lower right: Peploe

    Oil on panel: 9 ⅜ x 7 ¼ in / 23.8 x 18.4 cm

    Frame size: 13 ⅞ x 12 ⅛ in / 35.2 x 30.8 cm

     

    Painted c. 1907-1910

     

    Provenance:

    The Lefevre Gallery, London

    A Sharp, Glasgow

     

     

    Between 1904 and 1910, Samuel John Peploe and J.D. Fergusson spent their summers painting together on the coast of north-western France in Brittany and Normandy. Paris Plage, which they visited in 1907, was not only a popular seaside resort (now known as Le Touquet), but also a popular painting haunt for many artists, including Eugène Boudin, Pierre Bonnard and later, fellow Colourist, George Leslie Hunter. In his biography on the artist, Stanley Cursiter wrote of this period in Peploe’s career: ‘In the years immediately before 1910 Peploe had spent some time each summer sketching in France, at Étaples and Paris-Plage with his friend J.D. Fergusson. He painted a number of small panels with subjects supplied by the beaches: groups of figures, bathing tents, striped umbrellas, and the sea with green waves dancing over the pale sand. These pictures grew naturally out of the light schemes of colour on which he had been concentrating… The colour is not the foundation of his schemes, but incidental and added to a structure which exists in tone. In the small panels painted at Paris-Plage and Étaples colour is used more in the manner of the Impressionists; the picture exists in colour; the colour is no longer something added to a scheme of tonal relations, but the tonal relations are the outcome of the colours selected.’[1]

     

    A remarkable study in red, white and blue, Peploe’s panel of Paris Plage captures the bright, fresh vitality of the bracing sunlit street with swift assurance. Bustling with active figures and defined with fluid dashes of luscious paint, this intimate, intuitive townscape fluently articulates the energy and immediacy of plein air painting.

     

    It is thought that Peploe and Fergusson met at a studio club run by Joseph Simpson in Edinburgh around 1900, both having studied in Edinburgh and Paris.[2] Fergusson would later describe their relationship as: ‘A happy unbroken friendship between two painters who both believed that painting was not just a craft or profession, but a sustained attempt at finding a means of expressing reactions to life in the form demanded by each new experience’.[3]

     

     

                                 

    SJ Peploe, Paris Plage                                                                              

    Oil on board: 21.5 x 26.6 cm

    The Fleming-Wyfold Art Foundation, London                           

     

     

     

     

    Samuel John Peploe’s greatest influence was French painting and he was particularly inspired by the developments of Fauvism. He was the eldest of the Scottish Colourists, who worked in an idiom remarkable for its painterly freedom and richness of colour. Together with Francis Campbell Boileau Cadell, George Leslie Hunter and John Duncan Fergusson these four artists were characterised by their bold handling and use of colour and following their first exhibition in Paris in 1924 they were dubbed 'Les Peintres de L'Ecosse Moderne'.  

     

    Peploe first studied at the Edinburgh College of Art in 1893, and then continued his training in Paris, at both the Académie Julian under Adolphe William Bouguereau (1825-1905), and the Académie Colarossi. At this time he was considerably impressed by the work of Jean-Baptiste-Camille Corot (1796-1875), Jean-Baptiste-Siméon Chardin (1699-1779), Gustave Courbet (1819-1877) and Paul Cézanne (1839-1906).   He also admired Diego Velázquez (1599-1660), and seventeenth-century Dutch painters, especially Frans Hals (c1582-1666), whose work he saw on a visit to the Rijksmuseum, Amsterdam, in 1895. During this period, Peploe led a cosmopolitan life, working in Britain, and travelling extensively throughout France, in the company of his friend and colleague, Fergusson, with whom he spent several holidays painting at Etaples, Paris Plage, Dunkirk, Berneval, Dieppe and Le Tréport.

     

    In 1896, Peploe returned to Edinburgh and settled at his first studio in Shandwick Place, where the dark surroundings suited the sombre palette of his early still lifes, nudes and figure studies.  He moved to Devon Place in 1900, where he developed a more sophisticated choice of subject matter, matched by an increasingly rich application of paint, and to York Place in 1905, where lighter space was reflected in the heightened tonality of his work.

     

    [1] Stanley Cursiter, Peploe, An Intimate Memoir of an Artist and his Work, Thomas Nelson and Sons, London, 1947 pp. 19-20.

    [2] Alice Strang, S.J. Peploe, exh cat, National Galleries of Scotland, Edinburgh, 2012, p. 11.

    [3] Fergusson, 1962, cited in Alice Strang, 2012, ibid., p. 11.

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