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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BP 96



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


Painted circa 1945 – 50



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


In the late 1940’s Anne Redpath would make a weekly visit to Edinburgh in order to attend the meetings of the Hanover Street Group. This group included around fifteen other artists and they were given the open opportunity to draw from life every Tuesday, this was organised by fellow Scottish painter Derek Clarke (1912 – 2014). Clarke would often paint with his easel next to Anne’s and noticed that when painting she would be filled with “liveliness and concentration, walking back and forth, turning suddenly to spring a surprise on the image and catch it unawares, screwing up her eyes to diffuse the focus and generalise the image. She was at every stage concerned with the whole of the painting rather than concentrating on a small area.” Derek Clarke truly believed that the way in which she painted was a lesson to be learnt by younger painters.


Flowers in a blue jug, shows Redpath’s vibrant use of colour and the erratic way in which she is able to manipulate the paint across the panel. She would often use a palette knife to create peaks within the surface of the painting or to strain her paint brashly across it. Flowers in a blue jug is a characteristic example of Redpath’s mid-1940’s period and here she features her typically chalky yet brightly coloured flower-heads that appear a bold white upon the multi-layered background.  In 1948, Eric Newton of The Sunday Times wrote “Anne Redpath’s still lifes stand out like patches of blue sky on a grey day”.



Red and White Tulips, Anne Redpath, 1959            

Oil on canvas: 75 x 62 cm                                    

The Stirling Smith Art Gallery & Museum           




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.





Modern BritishAnne Redpath