SAMUEL JOHN PEPLOE RSA
1871 - Edinburgh - 1935
Still life with roses
Signed lower centre: Peploe
Oil on canvas: 18 x 16 in / 45.7 x 40.6 cm
Frame size: 26 x 24 in / 66 x 61 cm
Painted circa 1933
Aitken Dott & Son, Edinburgh
Private collection, Scotland, then by descent
Edinburgh, The Scottish Gallery, Aitken Dott & Son, Paintings and Drawings by S. J. Peploe, R.S.A. (1871-1935), 18th August – 13th September 1947, no. 34 (entitled Roses)
In his introduction to the Peploe retrospective held by Aiken & Dott in 1947, in which the present work was exhibited, J. W. Blyth eloquently writes: ‘Having lived with Peploe’s pictures for many years, we have experienced an ever-growing conviction that he was probably the greatest painter of his generation. As is the case with most great artists, his art passed through a number of phases, and one may have preferences according to one’s individual taste, but the masterpieces of each period are eloquent of his supreme gifts as a colourist and of his amazing skill in the art of picture-making…Naturally, with the passage of years Peploe’s art expressed more and more of his own personality, and in its later phases became unique and unrivalled in its own sphere. Peploe was a great man, and his pictures are the ardent outpourings of a great heart and a great mind. To live with them is a sheet delight’.
S.J. Peploe, Roses in a grey jar, c. 1933 S.J. Peploe, Roses
Oil on canvas: 50.8 x 40.6 cm Oil on board: 44 x 39 cm
Scottish National Gallery of Modern Art, Edinburgh MIMA, Middlesbrough Institute of Modern Art
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.