Tag Archives: Scottish artists

Exhibitions and available paintings 2018

‘Cerulean Sea, Isle of Iona’. Mixed media on 10×10″ wood panel. Rose Strang 2018 £385

Here’s a round-up of my available paintings plus info on the galleries where you can find them…

Limetree Gallery – Website

*(gallery closes from 23rd to 29th Dec. Contact gallery on website link with any queries)

 

 

The Limetree (owned by Sue Dean and Stephen Edwards) specialises in contemporary Fine Art and Glass and holds regular exhibitions throughout the year. They have two galleries: one in the heart of Bristol city and the other in Long Melford, Suffolk.

They have a particular love of contemporary Scottish artists, and always have a varied selection of their art on show. Ranging from traditional to modern, figurative to abstract, each exhibition is complemented by a selection of individual glass pieces from Britain and Sweden.

Open from 10am to 5pm, Tuesday to Saturday, or by appointment.

My artist’s pages on the Limetree website – Paintings

Works on show at the Limetree:

Resipole Gallery – Website

Resipole Studios is an award-winning fine art gallery with on-site artist studios, located on the West Coast of Scotland.

 

The Resipole hosts an exciting annual programme of exhibitions and workshops of Scottish contemporary art that is both emerging and established. The gallery was launched in 2004 by Andrew Sinclair after a two-year renovation of an agricultural byre.

Since its launch, Resipole Studios continues to present work by artists of many disciplines, with Scotland as their key focus. With many award-winning artists on its roster, the gallery is regarded as one of Scotland’s leading contemporary art spaces and, consequently, in 2016 was selected to show work by the late, American abstract-expressionist, Jon Schueler to mark the centenary of his birth.

My artist’s page on the Resipole website – Paintings

Works on show at the Resipole ..

Morningside Gallery – Website

The Morningside Gallery (owned by Eileadh Swan) specialises in contemporary art and works with emerging and established artists.

My paintings will be showing as part of their ‘Small Works’ show, which launches 9th January 2019. (Price information will be available then)

Works on show at the Morningside Gallery from January 9th ..

Limetree exhibition on Saturday 15th September

‘Seagull, St Ronan’s Bay. (Isle of Iona)’. Mixed media on 16×12″ wood panel. Rose Strang 2018

Just 11 days to go until the launch of the new three-artist exhibition Texture, at the Limetree Gallery in Bristol!

The private view is on Sat’ 15th September from 11am to 3pm. I hope if you’re in the area you’ll drop in to see the work, which includes beautiful paintings by Vivienne Williams RCA and Henry Jabbour, also my recent paintings of Iona (see below).

Two have sold (Iona I and Iona II) also several by Henry Jabbour and Vivienne Williams, so if you’re interested in buying and don’t want to miss the opportunity, give the gallery a ring and they’ll reserve the work for you (contact details on link below)

The Limetree in Bristol is a lovely gallery next to the waterside, with large windows that bring in plenty of natural light – have a look at this link to Google maps which gives a 3D view of the space –

3D View, Limetree Gallery 

Map and contact details

‘Frog’ – poetry, music and painting

‘Wells of Arthur’s Seat, Swimming Toad, Hunter’s Bog’ Mixed media on 16 x 13 inch wood panel. Rose Strang 2018 £250

I found time to edit this two-minute video – ‘Frog’ – featuring poetry and cello music by Alan Spence and Atzi Muramatsu, and my painting – ‘Swimming Frog, Hunter’s Bog’  – (more info below vid) ..

This was part of the launch event of ‘Wells of Arthur’s Seat’, which has been an incredibly rich experience – learning the history of the wells and their significance, collaborating with Alan and Atzi who responded with such artistic sensitivity to the ideas.

And of course the idyllic mid-summer’s night music performance on the summer solstice, at St Anthony’s Chapel on Arthur’s Seat, by the talented and wonderful Dominic Harris and Riley Briggs.

Watch my little vid of the evening here –

It’s a great parting note on which to leave Edinburgh for my up-coming painting trip to the Isle of Iona, where I’ll be painting purely en plein air, as they say, for a month, from a tent. The island is meaningful to me as I’ve been going there since I was 20 (back in the far mists of time!)  so I’ll post on that soon.

Thanks again to everyone involved in this last project, I think it will yield further fruit in future!

Society of Scottish Artists

Photo – at the launch of 2018’s SSA Annual Open Exhibition

It was really lovely to be selected, along with 16 other artists,  as a Professional Member of the SSA recently.

The SSA (Society of Scottish Artists) is an artist-led organisation which holds an annual exhibition every year at the the RSA.

 

 

 

Artists are selected for; actively practising professionally within one or more branches of the visual arts and are selected in recognition of their talent and dedication in this field. 

It means I can add ‘SSA’ to the end of my name, which is nice! The SSA is a friendly, supportive organisation, run by its president, award-winning artist Sharon Quigley and a team of artists selected each year. Its honorary President is Richard Demarco CBE.

In addition to the SSA Annual Open, they organise a year-round programme of national and international exhibitions, also events, residencies and workshops.

If you’re interested, here’s a brief history of the SSA (copied from SSA website)  …

“The Society of Scottish Artists was founded in 1891, and held its first Annual Exhibition in the Royal Scottish Academy Gallery – then the Royal Institution. Its inaugural catalogue laid forth the SSA’s function as:

“… being formed with a view to holding an Annual Exhibition in Edinburgh, to give inducement to the younger Artists to produce more important and original works by providing hanging space for such works. The opportunity has also been taken to obtain for the Society’s Exhibition examples of all Schools of Modern Art from distinguished living Artists…”

The SSA and the members and government of the RSA enjoyed an uneasy relationship during the early years of the SSA’s existence. The SSA was seen as a “rebellious” and “progressive” group, while the RSA represented the more traditional and conservative stance. After many appeals, however, including some to the Queen and the House of Commons, the SSA secured the use of the RSA galleries for its Annual Exhibition from 1902.

There are few Scottish artists of note who have not, at one time or another, been involved with the SSA, with Presidents including James Cadenhead, Stanley Cursiter, William McTaggart, Edward Gage, George Wyllie and Barbara Rae. The roll call of members and exhibitors is also impressive, including –The Glasgow Boys (Guthrie, McGregor, Walton, Hornel and Roche), the Scottish Colourists (Cadell and Peploe), John Duncan, Charles Rennie Mackintosh and William McTaggart to name but a few.

The SSA also strove to represent the more “adventurous” work being done abroad and so exhibitions included the work of the Post Impressionists, Gauguin, Cezanne, Matisse and Van Gogh in 1913 and, in the same year, the Futurist, Gino Severini showed work. In 1922 the Sociey presented work by Picasso, Daumier, Degas and Forain. In 1931, the Society showed, for the first time in the UK, twelve canvases by the then highly controversial Edvard Munch who went on to become a member of the Society.

In 1934 the SSA showed a selection of work by international living artists including Paul Klee. At this exhibition, the Scottish National Gallery bought his “Approaching Snowstorm“, which is now on show in the Scottish National Gallery of Modern Art. Prices for work then ranged from £35 to £350, with a head in pastel by Picasso costing £210, while framed etchings by Matisse, Picasso and Salvador Dali were available for £5 each.

The SSA has continued in this vein to the present day, always willing to show the controversial, the unique and the most adventurous and challenging work available. Its network of artist members and contacts throughout the world gives it access to some of the most interesting work by contemporary artists, which it endeavours to bring to a Scottish public.

A fully illustrated history of the Society of Scottish Artists can be found in the book, published by the Society in its centenary year, “The First Hundred Years“. This book is available from the Society. Please CONTACT US for further details.”

(From SSA website – http://www.s-s-a.org

Wells of Arthur’s Seat – 2 more

‘Wells of Arthur’s Seat, Swans on St Margaret’s Loch’. Mixed media on 16×13 inch wood panel. Rose Strang 2018. £250

‘Wells of Arthur’s Seat, St Antony’s Chapel II’. Mixed media on 10×10 inch wood panel. Rose Strang 2018. £180

Two more paintings today, for the Wells of Arthur’s Seat exhibition, which launches this Saturday (all details Here).

I couldn’t resist painting this view of St Margaret’s Loch with swans, having spent the weekend sitting there with friends watching them take off then fly down across the water.

For this second painting of At Anthony’s Chapel I splodged primary colours directly onto the wood, the colours at sunset are so vivid it’s the only way to capture it.

New painting – private commission

‘Wallace Mounument, Stirling’. Mixed media on 10×10″ wood panel. Rose Strang, May 2018

Today’s painting (above) is a private commission for a friend. It’s of the Wallace monument in Stirling.

Gus recently got in touch to ask if I’d paint the Wallace Monument for his mum, who grew up next to the Wallace Monument. His mum isn’t well just now and I was very touched and honoured to be asked.

I decided to paint a view with the Ochil hills in the background, with the sun coming out after a rain storm; I hope that’s how it looks!

Here’s a close-up of the tower, I’ve made it fairly impressionistic rather than detailed – the way it appears at a distance in sunlight ..

 

 

 

 

The tower in real life is quite beautiful – (images easily findable online) made of warm yellow sandstone which catches the light in the late afternoon and at sunset. It sits on the Abbey Craig; a quartz-dolerite intrusion that was harder-wearing than the surrounding  landscape, so took its current shape after the glaciers retreated about 14 thousand years ago.

The Abbey Craig was also the site of Wiliam Wallace’s HQ during the battle of Stirling Bridge in 1297, and the tower is a fitting tribute to this fairly monumental human being! He was apparently 6 foot 7 inches with a broad-boned warrior’s build. The sword he used in battle was at least five feet (though that would have been for an initial charge towards cavalry apparently).

The  tower was built in 1869 and is characteristically Victorian and ornate in style, though inspired by Medieval era buildings. The top represents a crown and, to my eye, if you see just the tip of this emerging from the surrounding foliage, it looks strangely similar to Hindu temples from thousands of years ago.

Pretty much everyone has seen Mel Gibson’s Braveheart, so most of you will have picked up the general gist of the story, and myths! If you read this blog you’ll know I’m always curious about the history of painting subjects, so if you’re interested, read on for  a brief outline about William Wallace …

Early depiction believed to be a likeness of Wallace

 

 

 

 

 

 

 

 

 

A few hundred years after William Wallace died, a writer called Blind Harry wrote a history of Wallace, much of which is deemed to be fantasy, but nonetheless the facts are there, as attested by official records of the time …

Following the untimely death of King Alexander III of Scotland, whose only heir was his three-year-old granddaughter, Scotland was in disarray and King Edward I of England was brought in to help arbitrate. You do have to wonder why anyone was surprised when he took full advantage of the situation, since he was renowned as a pretty unpleasant character to say the least – he decided to appoint himself Lord Paramount of Scotland.

Skirmishes broke out against the English occupation, and support for the cause grew as tactics of the occupation grew more brutal. The first proper battle, led by Wallace, defeated Edward’s army at Stirling Bridge.

After this victory Wallace was appointed guardian of Scotland, but the next battle was lost. He attempted to rally support from the French but  was later caught then tortured and killed for treason (pretty much exactly as depicted in Braveheart except that he was also dragged through the streets behind a horse for five miles before the execution). After this, Scotland appeared to be defeated, but covert plans were being made as Robert the Bruce succeeded Wallace as Guardian of Scotland, Robert the Bruce then went on to win against the English in the battle of Bannockburn in 1314 and after the 1300’s Scotland remained entirely independent up until the treaty of Union in 1707.

It would be nice to know more about the character of Wallace, but there’s only speculation and few hard facts. Suffice to say he was clearly a born leader – he wasn’t from nobility but was probably educated and trained as a warrior, he was also clever, as attested by battle strategies, and extremely determined. The decision to build a monument to Wallace came at a time of resurgence of interest in Scotland’s national identity, following the near decimation of Highland culture following the Highland clearances.

Thanks again to Gus Carmichael for commissioning this painting, it’s been a pleasure to paint and an honour to be asked!

Edinburgh in the Snow (and a brief history of Edinburgh!)

Not for sale. Edinburgh Snow (High Street and Arthur’s Seat from Regent Road). Mixed media on 22×16 inch found wood panel. Rose Strang 2018

Today’s finished painting of Edinburgh in the snow. I’ll be submitting this for competition next month, wish it luck!

The view is from Regent Road looking across to Salisbury Crags on Arthur’s Seat. In the foreground you can see buildings of the Royal MIle obscured by snow.

I’ve deliberately kept it vague since that’s how it appears as you walk into a snow blizzard along Regent Road, which is underneath Calton Hill halfway down to the valley of the Royal Mile or High Street (my photo below from a few weeks ago) …

Walking along Regent Road

 

 

 

 

 

 

 

I also wanted to get across the ‘feel’ of the Old Town, with its medieval buildings and wood timbers, hence the exposed wood in the painting and roughened edges, blurring old and modern buildings. Some close-up details below showing texture …

 

 

 

Edinburgh has just been voted the most popular tourist destination in the UK, and living here can make us a bit blasé about the features that make the city so unique and appealing, but the recent snow seemed to bring everyone out of winter hibernation. Arthur’s Seat was thronging with folks enjoying the snow – kids on sledges, a plethora of snowpeople! I slid about in the snow with my pal Donald, and it was great to see and experience…

 

 

And although I felt thwarted in my plans to get to the Cairngorms this spring due to train cancellations, I ended up appreciating Edinburgh instead. It is truly beautiful in the snow, hence these recent paintings (I’m working on a couple more).

So for those of you who don’t know so much about Edinburgh, and in the spirit of internationalism (and let’s face it, without the Edinburgh International Festival, Edinburgh would be a fairly boring place arts and people-wise, not-with-standing my dear Edinburgh family and friends!) I thought I’d include some brief words about Edinburgh’s history.

Briefly though, today I decided for the first time to check overall blog stats since 2013 and it turns out that visitors to this blog include folks from, in order of most views:

UK, US, Germany, France, Poland, Australia, Canada, Spain, Sweden, Netherlands, Ireland, Italy, South Africa, Switzerland, Greece, Japan,  Brazil, Belgium, Russia, India, New Zealand, Denmark, Columbia, Portugal, Dominican Republic, South Korea, Singapore, Quatar,  Hong Kong, Austria, Norway, Mexico, Jordan, Serbia, Turkey, Romania, Brazil, Czech Republic, Finland, Chile, Pakistan,  Hungary, UAE, Croatia, Slovenia, Israel, Jordan, Egypt, Thailand, ,  Philippines, Malaysia, Luxenburg, Argentina, Taiwan, Georgia, Lithuania, Ukraine, Slovakia, China, Kazakhstan, Latvia, Malta, Nigeria, Cyprus, Sri Lanka, Moldova, Albania, Panama, Vietnam and loads more going into vistor numbers under 50.

So, thank you to folks taking interest in an obscure Scottish painter’s blog!

Anyway, here we go with a condensed Edinburgh history (illustrated with my own photos) …

A condensed Edinburgh history …

Edinburgh Castle from Grassmarket

Edinburgh’s dramatic landscape was formed by volcanic activity that took place between around 358 and 298 million years ago.

The view from Edinburgh in my painting above sits between two of Edinburgh’s extinct volcanos – Calton Hill and Arthur’s Seat. If my painting panned to the right you’d also see Edinburgh Castle on top of the volcanic plug that forms the base of the castle.

After volcanic activity ceased, the landscape was submerged under sea water. Sedimentary rock (formed by waves of sediment washed over the land by water over millions of years) then began to form the Salisbury Crags (the cliff seen in my painting and in photo to the right), which were gradually tilted up to their current dramatic angle as pressure eased after the ice age.

The ice-age sculpted Edinburgh’s landscape into the shape it retains to this day – for example the ‘spine’ that forms the Royal Mile from Edinburgh Castle down to Holyrood House was formed by retreating glaciers dragging or depositing debris with them to create a trail behind each hill and mountain.

18th cent’ map. ‘Spine’ of the Royal Mile, castle on left, Holyrood Palace at the right, at the bottom of the hill. http://www.royal-mile.com/maps/royalmile18thc.

These rocky promontories must have had immediate appeal to early settlers as look-out spots;  almost all of the summits of Edinburgh’s volcanic hills reveal signs of early bronze age people.

Although I’ve been walking around Arthur’s Seat since I was a kid, the fact that I now live so close to it has inspired me to explore more, and I’m beginning to get an ‘eye’ (with the help of my archaeologist friend Sabine!) for Bronze-age remains (shapes or patterns in the land as opposed to actual buildings) not to mention spotting Edinburgh’s early sites of worship, healing or spiritual interest – such as wells; the traces of which can be found alongside later Christian religious buildings and sites (more on this in later blogs).

Edinburgh in twilight from Arthur’s Seat. The castle easily spotable on the horizon

If we’re thinking about a definitive beginning for Edinburgh though, it would clearly be the Castle Rock; easily defendable with its sheer basalt cliffs. It was called Dun Edin (‘dun’ means hill) and we know that there were settlers there from at least 850BC

As more people settled around the dun, or rock, the city would have grown in reputation as a stronghold or well-defended fort.

 

 

The castle itself (or the original building) was built from around the 12th century. To protect the growing city that began to grow along the ‘spine’ of the Royal Mile down to Holyrood Abbey, a wall (the Flodden Wall, remains of which can be seen today) was built around the city, and this was the catalyst for the distinct, tall buildings or tenements that lined the Royal Mile or High Street.

A charming, cleaned up ‘close’ in Edinburgh’s High street today

Builders built upwards, not outwards, because of the restricting wall. As centuries passed this created fairly unsavoury conditions (extremely unsavoury by today’s standards!). Packed into twelve storey tenements, Edinburgh’s effluent had nowhere to go and (readers from Edinburgh will groan with boredom at this point, having heard this story too many times) the oft-heard cry of gardez l’eau (pronounced GARRRDY LOO! with a strong Scottish accent!)  rang in the streets as residents chucked the contents of their chamber pots into the filthy cobbled streets below.

(Edinburgh had long-held connections with France, for many reasons, hence the familiarity with French language)

Old Edinburgh featured narrow closes between the closely packed buildings

Disease was rife, and no matter how posh you might be, you lived cheek-by-jowl with ordinary folks. On top of that, numerous open fires in such a small, over-inhabited space meant that the High Street was black with soot and smoke, hence Edinburgh’s nick-name of ‘auld reekie’ (old stinky).

This issue (for Edinburgh’s rich inhabitants anyway) was finally addressed when an architecture design competition was held in the mid 18th century and a young architect called James Craig won (I think he was in his early to mid-twenties at the time, I’m not fact-checking most of this but do correct me if I’m wrong!).

James Craig’s plan for the New Town

 

 

 

 

 

 

 

new town splendour

The plan was to create an entirely new area outside the High Street/Royal Mile, across the valley (which now contains Princes Street Gardens and Waverley train station) to the north of the old town, hence why this area of Georgian architecture is called ‘the New Town’ to this day.

All the filth that had accumulated in the Nor Loch (the loch or lake below and to the north of the Castle Rock) was dredged, this, and the detritus from building the new town, was used to form a bridge south to north from old town to new town.

This was called the Mound, and atop of this now sits two of Edinburgh’s most elegant buildings; Edinburgh’s National Art Gallery and the Royal Scottish Academy of Arts (Stock photo above right, looking west along Princes Street).

Only the richest inhabitants of Edinburgh could afford this new luxury accommodation, so people in Edinburgh’s Old Town still had to muddle along with their chamber pots, and up to the 1970’s, the High Street was seen as a bit seedy. Nowadays, it’s the most distinct part of historic Edinburgh and the most popular tourist destination. It retains an extraordinary level of historical features, not disimilar to cities such as York, which was similarly ‘neglected’, thankfully, for the sake of history at least.

This brings us pretty close to the present day, but the18a and 1900’s were truly, literally, headier times to say the least. Maybe it was imbibing all that volcanic spring water, but Scotland’s Enlightenment (much of which was born from, or whirred around the hub of Edinburgh)  is rightly perceived as impressive for a wee, chilly country in the north (read more Here)

As a born and bred Edinburgher, thinking about the sheer magnitude, depth and breadth of invention, creativity and brain power of Edinburgh’s Enlightenment days brings a tear to my eye!

Yet, as I wander around the slopes of Arthur’s Seat, the voices I wish I knew more about are those of Edinburgh’s less vocal past; ordinary folks who held sacred vigil at the wells of Arthur’s Seat, long before the hand of organised (politicised) religion silenced their voices and beliefs. We only know what their thoughts and beliefs may have been because of the numerous court cases at the time of the Protestant Reformation …

That will be the subject of my next painting series; the wells and springs of Arthur’s Seat. I know I’ve mentioned it several times, but it’s a bit ambitious, I’ve been researching alot – there is much mystery to reveal (genuinely, I’ve discovered some interesting, possibly new information about those times) and so I have now postponed the exhibition and event to the 21st June.

St Anthony’s spring, Arthur’s Seat