Anne Redpath

Flowers in a blue jug

Oil on panel: 20.1(h) x 14.9(w) in /

51.1(h) x 37.8(w) cm

Signed lower right: Anne Redpath

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ANNE REDPATH OBE RSA ARA LLD ARWS ROI RBA

Galashiels 1895 – 1965 Edinburgh

 

Flowers in a blue jug

 

Signed lower right: Anne Redpath

Oil on panel: 20 ⅛ x 14 ⅞ in / 51.1 x 37.8 cm

Frame size: 27 x 21 ½ in/ 68.6 x 54.6 cm

In a reverse pattern gilded oak frame

 

Painted circa 1945 – 50

 

Provenance:

Private collection, purchased directly from the artist in the 1960’s, then by descent

 

 

Flowers in a blue jug is a radiant example of Anne Redpath’s work of the mid-1940s, its vibrant use of colour and bravura application of paint typifies the energy and spontaneity found in this period. Redpath’s bold, painterly flowers flourish from the vivid blue jug, their bright white heads intensified by thick black borders, glowing against a more restrained, multi-layered background. Discussing her paintings in 1961, Redpath said: ‘I am someone who is very interested in colour, and by that I mean bright colour, gay colour. But at the same time, if you are a colourist, you like quiet colour as well, and I think this love of gay colour contrasted in my mind with this love of whites, and greys, and as far back as I can remember I have loved painting white’.[1] The daughter of a pattern weaver and Tweed designer, Redpath inherited a sense of colour harmony and contrast from her father, stating of her use of colour: ‘I do with a spot of red or yellow in a harmony of grey, what my father did in his tweed.’[2] In addition to a love of colour, Redpath took visible delight in the physical act of painting, ‘imbued with a sense of experiment and discovery and relishing the accident of invention. Each painting was a

new experience’.[3]

 

Born in Scotland in 1895, Anne Redpath is considered by many to be one of the most important Scottish artists of her time. Following in the footsteps of the Scottish Colourists, William Hardie once wrote ‘by temperament a great lover of life with a wide circle of devoted friends, Redpath was perfectly equipped to play a major role in the development of the Scottish Colourist tradition.’ Also inspired by the work of Matisse, Redpath’s paintings display a vivacious use of colour and form and a dramatic, expressive handling of paint. Redpath attended Edinburgh College of Art from 1913–1919, travelling throughout Europe before marrying the architect James Beattie Michie and settling in France to raise a family in 1920. On her return to Scotland in 1934 she moved to Hawick and began to paint once more. Her first one-woman show was held at Gordon Small’s Gallery in Edinburgh in 1947 and from then on her work matured from almost monochromatic still lifes and landscapes in greys and white to a more vibrant palette displaying an avid attention to colour, balance and form.

 

In 1944 Redpath was elected President of the Society of Scottish Women Artists and regularly exhibited at the Royal Academy and Royal Society of British Artists in London from the mid 1940s. In his review of the Royal Academy Summer Exhibition of 1948, the art critic for The

Sunday Times, Eric Newton, wrote that in comparison to the rest of the work on display ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[4] In 1952, Redpath was the first woman painter to be elected a member of the Royal Scottish Academy and four years later,

in 1960, she was elected an Associate of the Royal Academy in London. Interviewed by a journalist at The Scotsman for the occasion, Redpath told him that ‘she was the first woman to receive the honour for fifteen years and the first “family” woman ever.’[5]

 

                                   

Red and White Tulips, 1959                       

Oil on canvas: 75 x 62 cm                                    

The Stirling Smith Art Gallery & Museum           

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ANNE REDPATH OBE RSA ARA LLD ARWS ROI RBA

Galashiels 1895 – 1965 Edinburgh

 

Anne Redpath was a great admirer of the works of the Scottish Colourists, Samuel John Peploe and Francis Campbell Boileau Cadell and, under their influence, painted cool, harmonious still lifes. While talking about her paintings in 1961 Anne Redpath said: ‘I think really I am an artist that likes contrasts, both in my life, the things I live amongst, and therefore while I am someone who is very interested in colour, and by that I mean bright colour, gay colour. But at the same time, if you are a colourist, you like quiet colour as well, and I think this love of gay colour contrasted in my mind with this love of whites, and greys, and as far back as I can remember I have loved painting white…’ (Patrick Bourne, Anne Redpath, p. 87).

 

Born in Scotland in 1895 Anne Redpath is considered by many to be one of the most important Scottish artists of her time.   Following in the footsteps of the Scottish Colourists William Hardie once wrote “by temperament a great lover of life with a wide circle of devoted friends, Redpath was perfectly equipped to play a major role in the development of the Scottish Colourist tradition.” Also inspired by the work of Matisse Redpath’s paintings display a vivacious use of colour and form and a dramatic, expressive handling of paint.

The daughter of a textile designer Anne Redpath attended the Edinburgh College of Art from 1913-1919, qualifying as an art teacher in 1917 and travelling extensively throughout Europe before marrying the architect James Beattie Michie and settling in France in 1920.   On her return to Scotland in 1934 she moved to Hawick and began to paint once more.

 

Her first one-man show was held at Gordon Small’s Gallery in Edinburgh in 1947 and from then on her work matured from almost monochromatic still lifes and landscapes in greys and white to a more vibrant palette displaying an avid attention to colour, balance and form.   Elected a member of the Royal Scottish Academy in 1951, her first show was held in London the following year at the Lefevre Gallery and throughout her career she continued to promote the work of Scottish Artists.

 

After her death a major retrospective of Redpath’s work was held at the Scottish National Gallery of Modern Art from 1966-67 and her work can be found in Museums throughout the world, including the Royal Academy, Tate Britain, The National Gallery of Scotland and the Art Gallery of New South Wales, Sydney, Australia.

 

 

 

 

[1] The artist cited in Patrick Bourne, Redpath 1895–1965. Her Life and Work, Canongate Books, Edinburgh, 1989, p.87.

[2] Ibid., p.12.

[3] Ibid., p.28.

[4] Cited in Patrick Bourne, ibid., p.39.

[5] Cited in Patrick Bourne, ibid., p.65.

Modern BritishAnne Redpath