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They "absorbed and reworked the strong and vibrant colours of contemporary French painting into a distinctive Scottish idiom during the 1920s and 1930s". [12] Peploe stated that his style was an attempt to simultaneously find truth through light, form and colour, while also remain faithful to one’s own emotions and understandings of the art ...
The Coffee Pot, by Samuel Peploe (1905). The first significant group of Scottish artists to emerge in the twentieth century were the Scottish Colourists in the 1920s. The name was retrospectively given to John Duncan Fergusson (1874–1961), Francis Cadell (1883–1937), Samuel Peploe (1871–1935) and Leslie Hunter (1877–1931). [2]
The first significant group of Scottish artists to emerge in the twentieth century were the Scottish Colourists in the 1920s. They were John Duncan Fergusson, Francis Cadell, Samuel Peploe and Leslie Hunter, who placed an emphasis on colour above form.
Ian Fairweather (1891–1974), Scottish/Australian painter; Christian Jane Fergusson (1876–1957), Dumfries and Galloway landscape and still-life painter; John Duncan Fergusson (1874–1961), member of the Scottish Colourists school; Henry Snell Gamley (1865–1928), sculptor specialising in war memorials and tombs; Robert Gavin (1827–1883 ...
Francis Cadell self portrait, 1914. Francis Campbell Boileau Cadell RSA (12 April 1883 – 6 December 1937) was a Scottish Colourist painter, renowned for his depictions of the elegant New Town interiors of his native Edinburgh, and for his work on Iona.
Samuel John Peploe (pronounced PEP-low; 27 January 1871 – 11 October 1935) was a Scottish Post-Impressionist painter, noted for his still life works and for being one of the group of four painters that became known as the Scottish Colourists. The other colourists were John Duncan Fergusson, Francis Cadell and Leslie Hunter.
Scottish art is the body of visual art made in what is now Scotland, or about Scottish subjects, since prehistoric times. It forms a distinctive tradition within European art, but the political union with England has led its partial subsumation in British art .
They predominantly painted still life and Scottish landscapes, and shared an interest in working both in oil and watercolour. Art critic Giles Sutherland, writing in The Times , has suggested: "The work of the Edinburgh School is characterised by virtuoso displays in the use of paint, vivid and often non-naturalistic colour and themes such as ...
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