Tag Archives: scottish highlands

Romance in the Scottish Highlands! (new commission)

Above: Scottish Highlands – “…with rain on your eyelashes”. Oil on 48×48 inch canvas. Rose Strang 2022.

The Scottish Highlands could be described as northern rainforest with an average of 182 inches of rain falling each year! Dreich! You might say, but it’s all about perspective …

The commissioner of the painting above, is Jamie Johnston, who lives in Colorado where she runs a wonderful organic bee farm that’s been in the family since 1908 – The Beekeeper’s Honey Boutique.

Jamie decided to get married in Scotland back in 2016 – ‘It rained the whole time’ she said, ‘but I loved it!’  She got in touch with me because she’d ordered a copy of the Folio Society’s publication of The Living Mountain by Nan Shepherd. (I’d been commissioned to provide paintngs for the book). Jamie described her enjoyment of the paintings while reading the book, which led to her contacting  the Limetree Gallery who represent most of my work.

She particularly loved the rainy dark ones which I love painting – they reminded her of the rainy weather during her romantic holiday and wedding in the Scottish Highlands.

Jamie decided that what she’d really like was a large version for the walls of her new home. The remit was just to paint whatever I liked, as long as it captured something of the Scottish Highlands drenched in rain. As any artist knows, it’s such a pleasure to be given a free rein to experiment, so I immediately began to visualise how it might look and how I’d create the right feel and atmosphere.

Jamie had sent a few photos of her time in the Highlands, which were really lovely as photos, but she explained these were just to give a sense of the sort of thing that had caught her eye – she didn’t intend for me to copy them. I did use one of them as a starting point, for composition and because I liked the waterfall and cloudy skies. Once the basic composition was sketched in though, I just built up layers of paint, drips and splodges until it had what I thought was the right feel. I wanted to get the sense of the Highlands – that pelting rain can quickly turn to sunshine then back again in the course of a few minutes!

Also giving a true sense of how water forms the landscape in Scotland, cutting swathes through rock and landscape over time – and further back in time – the retreating glacial action that gave those hump-backed whale-like shapes to the mountains.

You never know if you’ve managed to capture what a person has in mind, so I was swithering a bit on whether to add more, or change the painting. In the end I decided to send the image to Jamie by email to see what she thought. Painting it was a pleasure, but how someone reacts is what makes the commission a success.

I opened the email with some trepidation, so you can imagine what a huge smile Jamie’s reply put on my face for the rest of the day! …

“ROSE!!!!

I am dying!!! WOW!!! It is soooo incredibly beautiful…even more so than I imagined possible!!! Like I literally cannot stop staring at it!!! Those clouds…the colors on the mountain…those colors of that mountain valley down below…SERIOUSLY…how do you do that?! That is incredible!!! The talent that you have contributed to this world literally blows me away!!! I’ve never used this many exclamation marks in my life but I am on such a high right now!!!

It is beautiful. I love it immensely. Thank you for sharing your talent with me. It makes me very happy knowing I get to hang this (the first picture we will hang in our new home) & I can have a coffee or glass of whiskey & just stare at it & get lost in my memories through your beautiful painting. THANK YOU!!! Love, love, love. You captured EVERYTHING I had hoped for & then some”.

This blew me away as a response – music to my ears indeed!! Jamie also gave me the go-ahead to title the painting and so I began to think of romantic poems by Scottish poets (I too find the rainy Highlands romantic!) my favourite was this little gem, by Edwin Morgan:

Kiss me with rain on your eyelashes,
come on, let us sway together,
under the trees, and to hell with thunder.

Edwin Morgan. 2004. (Poem commissioned by the Scottish Poetry Library, Edinburgh  for Valentine’s Day 2004).

Hence the title! Scottish Highlands – “…with rain on your eyelashes”. And here’s another photo to show scale ..

Rose[13465]

A HUGE thank you to Jamie for this really lovely commission – Jamie and partner can always expect a warm welcome here in Edinburgh should they return at some point. In the meantime, I too shall enjoy a wee whisky in front of it before it wings its way through the clouds to Colorado!

Painting The Living Mountain. Artist’s Journal Pt 4

(Image above – Looking back towards the Monadliath Mountains. Photo Adam Brewster) 2021).

Pt 1: Here

Pt 2: Here

Pt 3: Here

Pt 4: Here

Pt 5: Here

Pt 6: Here

In the next few weeks I’ll be posting an artist’s diary about creating a series of paintings for The Folio Society’s publication of The Living Mountain, by author Nan Shepherd.

(The Folio Society edition of Nan Shephard’s The Living Mountain illustrated by Rose Strang and introduced by Robert Macfarlane is exclusively available at www.foliosociety.com)

Link to book …

The Living Mountain by Nan Shepherd, published by the Folio Society 2021

Pt 4: In the Cairngorms

 

It wasn’t until March 11th 2021 that Adam and I finally arrived the Cairngorms. There had been numerous setbacks with most places closed due to lockdown. We finally found and booked a self-catering hut at Glentruim Lodge on the south west side of the Cairngorms (off the road that runs north to Aviemore).

The roads from Edinburgh to Glentruim were almost empty, which made for easier driving, and luckily no snow. On arriving we explored the area – a river valley surrounded by low hills with a view of the snowy peaks beyond. Tall beech trees towered over our hut and a family of red squirrels darted around the trunks – disappearing as soon as a camera emerged. I found the grace of these beeches compelling and thought of including them in the painting series, though I’d heard they weren’t considered native to Scotland. Later though, I discovered that they are in fact most likely native to Britain, having naturally spread north to Scotland following the end of the last ice-age.

Perhaps it was the marked contrast to being confined to the city throughout most of lockdown, but these trees and the general atmosphere of the valley felt more exuberantly alive to me than usual. The beeches looked almost as if they were throwing their branches into the bright blue sky. My painting takes me all over Scotland, to places more remote than where we were staying in the Cairngorms – Ardnamurchan, Sutherland or Torridon for example are beautiful, remote places near the sea.

Maybe it was the sheer scale of the Cairngorms though – the sense of larger than life mountains, trees and weather. I was reminded again of passages from MacDonald’s or Lewis’s descriptions of nature – trees on the verge of dancing, squirrels on the verge of speaking.

It was also the sense of uninterrupted nature – a stark contrast to trees in the city, because however lovely individual city trees can be – they’re not an eco-system or a community of trees interacting with each other. In 2018 when I’d been painting my series in response to C.S. Lewis’s Narniad, I’d learned (through reading Michael Ward’s book Planet Narnia) that Prince Caspian is inspired by the Medieval concept of Mars. Not just the God of War, as more commonly understood, but the concept of valour or courage – an ‘iron will’, and also ‘Mars Sylvanus’ – the vigorous energy of early spring. Mar-ch, with leaves shooting from the branches of trees. Birches in March become purplish-red just before they produce their first leaves, as Nan Shepherd observes in The Quarry Wood – their branches coloured like blood-veins.

While painting and researching Prince Caspian/Mars, I’d also learned something of the nature of a forest. A scientist called Suzanne Simard had discovered that trees send nutrients to each other, they are all interdependent. At the time of writing this journal, I’m also reading Robert MacFarlane’s Underland, which contains one chapter with an absolutely fascinating account of Simard’s discoveries of the complex root systems of forests.

The trees outside our cabin in the Cairngorms ‘felt’ exuberantly alive because they were exactly that – they communicated a sense of energy – not simply through the visual indicators of fresh air in the lichen that festooned the trees, the restless red squirrels, numerous birds or the scent of crystal clean air, it was the energy of uninterrupted growth and health.

The next morning when we stepped out of our cabin to look at the weather we were greeted with a beautiful snow and frost covered landscape.  Our ‘wows’ were quickly superseded by ‘oh sh*ts’ however, as this made it seem less likely we’d be able to get in to the mountains. On checking our phones we discovered that Emma (our mountain guide) had already contacted us to say ‘Looks like winter has returned!’ She seemed sure we’d find a way in though.

We’d already had the disappointing news that we’d not be able to enter the Cairngorms through the northerly route and areas Nan explored so often. This was because the ski road leading most of the way into the Cairngorms had been closed for the season. ‘The best ski-ing weather we’ve seen in years – and no-one can enjoy it!’ Liam and Emma had commented.

Emma’s advice was to walk up to the plateau from the southwest, from Glen Feshie up to Carn Ban Mor (from Gaelic, meaning ‘The big pale cairn’). Since Emma seemed optimistic we could still climb, we got in our little car and headed north along the motorway to meet Emma at Auchlean carpark. The carpark was off the motorway and a few miles into the mountain valley and we soon realised the snow-covered roads would be an issue.

I rang Emma, who asked; ‘Are you in a four-wheel drive?’. I managed not to snort as I explained ‘no it’s just an ordinary car’. We agreed to meet as far along the road as our un-Cairngormworthy car would take us.  We spotted Emma at the road to the carpark and stopped. A quick discussion ensued; ‘Do you think you have Covid?’ ‘No’. ‘Well, it’s a short drive, just two minutes and I’ll keep the window open’.

Before leaving Emma’s car she quickly fitted us with crash helmets and ice picks; “Just in case we encounter slippy ice further up the paths” Emma explained cheerfully. I began to picture accounts I’d read of climbers hanging on to the edge of ice chasms on the slopes of Everest, hands immobilised by frostbite. Then I reassured myself with the thought that at least we wouldn’t run out of oxygen. That situation, described as the death zone, only happens at 8000 metres and Carn Ban Mor is only 1052 metres high! What were the crash helmets for? ‘There’s almost zero chance of an avalanche, it’s just a safety measure’ Emma replied reassuringly.

As we walked up the lower slopes through a forest of pines sparkling with fresh snow, I asked Emma about how she became a mountain guide. She explained that she’d grown up in the Cairngorms and that she’d always climbed, and that training really took that to a different level; ‘The difference is – you know and can say exactly where you at any moment, not just have the ability to get out of tricky situations or a sudden change in weather’. (Being able to give 100% accurate GPS coordinates would of course be the difference between life and death, if a climber breaks a leg on a mist-covered mountain).

This made sense in the light of the haunting descriptions I’d read in The Living Mountain (or heard about from friends or family) of the utterly disconcerting experience of navigating a way out of white mist in which you can’t see beyond a foot. In previous years, I’d climbed several mountains with an ex-partner, Tim. He’d learned how to navigate well, but wasn’t so foolhardy he’d walk into a blizzard given a choice. I remember one day we’d walked up into the Trossachs (a mountain region in Central Scotland) and were just about to climb onto the plateau towards the summit when a white-out blizzard descended. It was lucky we were standing next to a cliff. We simply stood there till it passed, then when the air cleared took the opportunity to walk quickly to the summit where we enjoyed blue skies and a view of Loch Katrine far below.

My mum (Gillian) had been the more intrepid mountain climber though. Her partner at the time, Des, was a geologist by training and had extensive mountain climbing experience. I’ll never forget her description of a sudden blizzard as they navigated via map and compass down to a bothy and safety. She said that all she could actually see was the front of her anorak, which became encrusted with a growing hillock of icy snow crystals. I can well imagine her relief on reaching the bothy, warmth and safety.

It’s in conditions such as these that Nan would doubtless have found herself on occasions. Alone too. I think her imaginative descriptions, visionary insights and musings might lead the inexperienced to imagine her as floating elf-like along the mountain paths in a continual reverie! It’s clear that as well as excellent navigation skills, she must have had muscles (and nerves) of steel!

Our guide Emma pointed out the tracks and marks left by various animals as we walked through the snowy wood. She wasn’t what I’d expected as guide (I suppose Adam and I had somehow imagined a tough militaristic sort) Emma looked quite arty, with a mane of light red hair and green eyes; very Scottish! We chatted about Nan, and she agreed that she must have been an incredibly experienced climber – absolutely in her element in this arctic landscape.

As Emma explained, the Cairngorms are in fact a micro-climate, a ‘mini – Arctic’ in effect, with all the temperatures, weather conditions, flora and fauna associated with the Arctic. We were by now emerging from the woodland and as the trees thinned out we were able to look back at the astonishing views behind us of the snow-covered Monadliath mountains to the west of the Cairngorms.

Continue reading

'Through Kintail'. Oil on 14x11" wood. Rose Strang 2020

A Subtle Touch

'Ardban. Shimmering Sea'. Oil on 14x11" wood. Rose Strang 2020

‘Ardban. Shimmering Sea’. Oil on 14×11″ wood. Rose Strang 2020

My latest paintings series of Ardban and Kintail are now on exhibition at the Limetree Gallery, Bristol. The exhibition launches from the 31st of October but you can reserve paintings now or make enquiries at the gallery on the link below which shows the full catalogue of works by myself, Anna King and Mhairi McGregor…

A Subtle Touch – Exhibition at the Limetree Gallery, Bristol

The series follows a journey through the Highland Glen of Kintail, then the peace and tranquility of Ardban in Applecross. All the works are oil on wood and sizes vary from 14 by 11 inches to 33 by 23 inches. The link above has all details of prices, sizes and contacts at the gallery.

I’m honoured to be showing alongside two artists whose work I admire, and as always it’s an absolute pleasure to show at the Limetree Gallery, Bristol. My only regret is that I can’t travel down to the launch, with Covid restrictions making that a bit unpredictable. I can’t complain though, it’s been a pleasure to paint and I’m lucky to be able to keep working on creative projects!

Wishing everyone the very best of health and happiness!

Applecross series day 8

'Ardban Morning Sunlight'. Oil on 19 x 19" wood. Rose Strang 2020

‘Ardban Morning Sunlight’. Oil on 19 x 19″ wood. Rose Strang 2020

Today’s paintings for the new series for the Limetree Gallery Bristol.

There’s a definite feel to the series noiw – driving through the rainy dramatic mountains of Kintail then reaching the west coast light of the Applecross peninsula. I’m very happy with the Kintail series, though I know some people might find those a little dark, I just find that drenched sort of autumnal mountainscape relaxing.

I have three paintings to complete, then the series wil be finished. More tomorrow …

Below – all paintings so far …