Above: 18th Century Baluster Wine Glass. Oil on 12 by 9 inch wood. Rose Strang 2025
Today’s still life; an 18th century Baluster wine glass – a type of glass with a heavy stem featuring bulbous patterns. I love those horizontal marks near the top of the glass that show the glass has stretched and that it’s hand-made. Isn’t it interesting that they would have worked so hard to remove these ‘flaws’ and nowadays we value them as part of the maker’s marks – not mass produced?
Tomorrow I’ll be painting the last in this series of three still lifes for The Graystone Gallery, Edinburgh, for their upcoming Christmas exhibition.
Above: Red Perfume Bottle with Silver Cap. Oil on 12 by 9 inch wood panel. Rose Strang 2025
(On easel) Red Perfume Bottle with Silver Cap. Oil on 12 by 9 inch wood panel. Rose Strang 2025
Red Perfume Bottle with Silver Cap. Oil on 12 by 9 inch wood panel. Rose Strang 2025
Red Perfume Bottle with Silver Cap. Oil on 12 by 9 inch wood panel. Rose Strang 2025
(Detail) Red Perfume Bottle with Silver Cap. Oil on 12 by 9 inch wood panel. Rose Strang 2025
(Detail) Red Perfume Bottle with Silver Cap. Oil on 12 by 9 inch wood panel. Rose Strang 2025
This is the first of three winter still lifes I’m painting for the Graystone Gallery in Edinburgh. They’ll be available to buy from around the 10th December, so contact the Graystone Gallery with any queries, they’re super helpful!
If you follow this blog then you might recognise the subject as this is not the first time I’ve painted this beautiful little bottle. The last time was in 2020 for the Limetree Gallery, Bristol. It belongs to my mum and I find it a magical little object. It always made me think of Lucy’s little cystal bottle which held healing elixir (The Lion the Witch and the Wardrobe).
Others have said the painting makes them think of Alice in Wonderland (the “Drink Me” scene). I love painting these jewel-like still lifes in winter. Landscape painting is easier in the warmer months as the colours are so subtle. Winter light is hard to paint in, so up-close, monochrome or strong-coloured subjects work well
I think my painting has improved since I last painted this subject, you can be the judge of that though! Here they are, side by side …
Sold. ‘Antique Perfume Bottle, Red’. Oil on 13×13″ wood. Rose Strang 2020
Red Perfume Bottle with Silver Cap. Oil on 12 by 9 inch wood panel. Rose Strang 2025
Above: November II. Oil on 12 by 9 inch wood panel.
These are three little winter studies of interiors, a temporary change of scene from landscapes (details below also showing frames)
These will be on exhibition at The Lime Tree Gallery, Bristol from November 8th 2025. (Please contact the gallery with any enquiries)
‘November. 1’ Oil on wood. H 30.5cms W 23cms. Rose Strang 2025
November II. Oil on 12 by 9 inch wood panel.
Sold. ‘November. 3’ Oil on wood. H 30.5cms W 23cms. Rose Strang 2025
I like this sort of painting as we go into winter – the darker palette and jewel-like colours lend themselves to winter light. and are quite meditative to paint.
October used to make me feel a bit trepiditious about the dark of coming winter, until I became fascinated by Medieval philosophy through reading books by C.S. Lewis and Michael Ward (Planet Narnia). Medieval philosophers believed seasons were ‘influenced’ by planets, so the dark months of winter corrrespond to Saturn: learning, time, authority, death, introspection – quite a heavy little collection of influences there, but I find when you embrace this time of year with a book next to the fireplace and a contemplative mind (maybe a little whisky too!) it’s all good.
(Above – driving through Glen Shee to Braemar. Photo Rose Strang. All photos below by Rose Strang and Adam Brewster)
The more I visit the Cairngorms the more I understand how they pull at the heart. In Nan Shepherd’s words from her poem – Summit of Corrie Etchachan:
” …No vision of the blue world, far, unattainable, But this grey plateau, rock-strewn, vast, silent …”
The Braemar Literary Festival was abuzz with ideas and conviviality – it was truly special to be there, but what remains with me is the changing mood and light of the mountains and the sense that just beyond the warmth and safety of Braemar is this arctic beauty, clear water, epic forests and everchanging skies. I really want to go back there and paint!
I was surprised by viewer reactions to my paintings (The Living Mountain series, completed in 2021). It was emotional and I had some really lovely conversations with people who feel passionately about the Cairngorms, for which I’m very grateful.
Copyright Fife Arms Hotel
I attended the festival with my partner Adam, and we were blown away by the generosity we experienced from Art Farm (the people who manage art and cultural events at the Fife Arms Hotel on behalf of Hauser and Wirth). Also by the people who run the Highland Pavilion, who provided us with fresh coffee, scones and friendly chats the two days we were there.
We didn’t expect Art Farm to invite us to their yearly literary dinner at the Fife Arms, along with some well-known authors and poets including David Nicholls (One Day), Alexander McCall Smith (44 Scotland Street) and Scotland’s Makar (Poet Laureate) Peter MacKay.
The Fife Arms instagram page has some great photos of the weekend on this link –
David Nicholls was amused when I told him he’d traumatised me with his gripping, emotional book One Day. We chatted about the effects on society of lockdown, touched on in his new bookYou Are Here, which I’m already enjoying – it has the characteristic loveable, flawed characters Nicholls is known for.
I was sitting next to Peter Mackay for dinner, and had a fascinating chat about Scottish Gaelic, the structure of ancient clan society and Scottish politics. Turns out we’d both drawn a parallel between the underground mycorrhizal networks that connect trees (explored by scientist Suzanne Simmard) and non hierarchical clan society. That was a bit of a niche ‘high five’ moment! Here’s my rambling post on the subject from 2019 – Planets, Narnia, Clans, Trees)
Alexander McCall Smith was as convivial as you’d imagine, telling me an amusing tale about a painting he’d acquired from the Scottish Gallery which turned out to be by a Dutch master!
The entire weekend was a rich and autumnal experience that Adam and I won’t forget, so a warm thank-you to all at Art Farm, The Duke of Rothesay Highland Games Pavilion and staff at The Fife Arms Hotel (unmatched for lush comfort, warmth and style!)
I’ll end with a poem (it was written first in Gaelic then translated by MacKay) by Peter MacKay, which, although it’s about the sea, not the Cairngorms, somehow speaks to me of their pull …
My paintings from the Living Mountain Series will be showing in the Highland Pavilion, Braemar on the 27th and 28th September and I’ll be there for ‘meet the artist’ from 12 noon to 1:30pm.
If you follow this blog you’ll maybe remember the exciting commission I was given by the Folio Society, London, in 2021. The Folio were re-publishing their own edition of The Living Mountain, and sought an artist to illustrate the book. I felt honoured and surprised – this being one of my favourite books of all time! (the Folio edition is now completely sold out – it’s possible to buy a copy online from booksellers but it’s now into the £100s. How I wish I’d held on to more of the copies they gave me. I have just one left)
The Braemar Literary Festival was founded by world-famous art collectors Hauser and Wirth, who own the Fife Arms Hotel in Braemar. The’ve turned the hotel into a quite extraordinary experience, the place is festonned with stunning original works of art including a Picasso and an enormous Bruegel in the dining room. The atmosphere is high-end but not uppity, the style in keeping with its Victorian heritage, they even have a framed letter by Queen Victoria tucked away in an alcove somewhere.
Guest speakers to the festival will include Monica Ali, Alexander McCall Smith, David Nichol (known most recently for the televised version of his heart-rending novel; One Day), Giles Coren and many more interesting authors, journalists and presenters (link Here)
Hope to see you there! Here’s the info again …
My paintings from the Living Mountain Series will be showing in the Highland Pavilion, Braemar on the 27th and 28th September and I’ll be there for a ‘meet the artist’ hour from 12 noon to 1:30pm.
Above: August II . Oil on 12×9″ wood panel. Rose Strang 2025
The cold having abated a little I’m continuing with this new series – all about light on stone. More about it Here.
This is a view of a 19th century church in Bath. I liked the mystery and sense of unknown – the sense of invitation. It’s no mistake that ‘entrance’ also has a mystical meaning.
Today’s painting is dedicated to our friend and neighbour Maureen Stewart, who passed away this morning.
I’ve never seen anyone more reconciled to her end – more good-humoured, even though her end came too soon (she was only in her 60s). She had the most wry and mischievous sense of humour, a litle bit dark at times!
She believed in life after death. She’d experienced astral projection many times. She said she was ready to meet her end.
May she rest in peace, joining all the other wonderful souls.
Above: August I. Oil on 12×9″ wood panel. Rose Strang September 2025
The start of a new series aways begins with a certain amount of fretting! I think I’ve now found a way to explore what inspired me though – namely, August light and shadow on stone.
August 1. Oil on 12×9″ wood. Rose Strang 202
August 2. Oil on 12×9″ wood. Rose Strang 2025
On the easel
Not just any stone – this was inspired by a brief visit to Bath during the height of August to visit a friend of my partner Adam (hello Martin!) – a fellow architect. They met while studying architecture back in the 90’s and have remained great friends ever since.
So of course we were treated to a tour of Bath to admire its architecture and Jane Austen vibe in late August sunshine. You couldn’t get more touristy really, but sunlight on stone has always amazed me. I’ve never been trained in the art of architectural drawing, so I’m keeping it simple.
My last series (viewable on this link Forest of Luffness) was so challenging, with such complex ideas that I wanted to keep it simple for the rest of the year.
This series titled August is the first of two series I’ll be painting until the end of the year. The second will be titled November and will focus on the subtleties of light within interior settings.
Both series will be framed in hand-made and wood-stained en plein air frames (think large, dark wood Vermeer-esque frames) which will add much to the architectural theme.
Above: North Beach Iona, May . Oil on 30×20″ linen canvas. Rose Strang 2025
“Rose Strang observes North Beach, Iona (May) with atmospheric close-up clarity. The circle of black rocks, pale sand and turquoise shallows, lead to the misty mountains beyond with a loose, impressionistic style. Textured brushstrokes contrast the weathered ruggedness and calm serenity of the isolated beach on this Spring day. The palette is cool and luminous dominated by icy blues – waves lapping, light dancing. Strang’s poetic, painterly voice speaks not just of the physical landscape but of its ever-changing natural elements with quiet contemplation.”
A really lovely review by Art Mag art critic Vivien Devlin today of the Graystone Gallery’s Edinburgh Festival Exhibition. Poetic, descriptive writing by a genuine art lover. Thank you Vivien! –
Rose Strang Artworks 