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 – 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: Forest of Luffness 18. Oil on Canvas Diptych 30×30″ and 30×12″. Rose Strang 2025
This is the final painting in the current Luffness series. I may continue painting this theme later in the year but it would take a different form.
Rather than explain or describe the meaning behind this series, I’m going to let the documentary explain that.
It’s going to be beautiful, with specially commissioned music, a highly talented film-maker, powerful ideas, and moving observations, expressed by Richard Demarco. The first draft might be ready by mid July. After some final tweaks it should be ready for public viewing by August.
In the meantime, here are all the paintings in the series …
‘First of June. Forest of Luffness 8’. Oil on 19.5×19.5″ wood. Rose Strang 2025
Forest of Luffness 14. Oil on 30×30 inch canvas. Rose Strang 2025
Forest of Luffness 18. Oil on 30×30 inch canvas. Rose Strang 2025
Forest of Luffness 19. Oil on Canvas Diptych 30×30″ and 30×12″. Rose Strang 2025
Above. Storm Island. Oil on 50×50″ linen canvas. Rose Strang 2025.
Part of a series in progress for the Graystone Gallery‘s Edinburgh Festival exhibition launching to the public Saturday 19th July 2025 from 1 to 3pm
The photo below includes me to show scale …
‘Storm Island’. Oil on 50×50″ linen canvas. Rose Strang 2025
The painting’s called Storm Island because it shows a somewhat abstracted view from the north beach of Iona to Eilean Annraidh, which means (you guessed it!) Island of Storm in Gaelic.
It doesn’t look remotely stormy from the shore, it generally looks somewhat tranquil, even mystical in the way that islands do until you’re on them. A sense of untouched purity with its white sand and luminous tuquoise water.
I can never capture in traditonal or realist paintings that feeling of mystery. Abstracting this painting a little, and painting from a place where I’m thinking of colour, shape and texture rather than what’s actually there, maybe gives more of a sense of that feeling.
The foreground suggests a rockpool. The rock pools on the north beach of Iona are incredible sometimes, you feel you’ve stumbled upon some sort of dragon’s lair, with this lime green water among the jagged jet black rocks.
I have one more of these semi abstract works to finish this week, then the series for theGraystone Galleryis complete. The exhibition launches with a preview on Saturday 19th July from 1 to 3pm. Hope to see you there!
Above: Iona Abbey from North Beach. Oil on 30×20″ linen canvas. Rose Strang 2025
Today’s painting, above, is one of two landscapes for the upcoming Graystone Galleryexhibition in Edinburgh which launches on Saturday 19th July this year from 1 to 3pm
I’m taking these two landscapes as a starting point for two much larger abstract works for the Graystone, about which I’m very excited as I really awant to play with colour, mood and texture, not just views of Iona, lovely as those are to paint!
Just looking at my palette at the end of today is an inspiration!
Rose Strang Artworks 