Tag Archives: scottish mountains

Beinn Odhar Bheag, Glenfinnan

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Above Beinn Odhar Bheag, Glenfinnan. Oil on 32×23″ wood. Rose Strang 2020

Back in my twenties (when money was even scarcer than it is today) one of my favourite things was to drive up to the west coast of Scotland with a friend or two and camp wild among the ancient oaks and white sands of Arisaig, Morar or Ardnamurchan.

Cooking over a tiny gas stove under heavy rain required ingenuity – an anorak served as a tarpaulin over the bushes above my head as I cooked spag bol from scratch, in the dark, with a torch strapped to my head. Numerous swigs from a bottle of red wine helped with the ever present midges, in as much as I was beyond caring after a while, though I’d awake the next day with a face so covered in midge bites it resembled a shiny pink football!

Something about camping wild can lead to the most immersive experiences though, I remember sitting at the foot of a freezing waterfall, dipping my head in the water to cool down the midge bites, until my face felt numb – a strangely pleasant sensation, relatively!

I’ve never much enjoyed constant city-life, and have from time to time lived in more rural locations (in Orkney, and on the Isle of Paros in Greece). So it’s a surprise even to me that it’s taken so long to move out of the city – next year I hope to move permanently to the countryside.

One of my favourite stops on the road to the isles was at Glenfinnan. Leaving the constant noise of Edinburgh we’d drive for a few hours to Fort William for supplies, then it’s just a half hour drive west to Glenfinnan. Beinn Odhar Bheag sits just south of the village of Glenfinnan, a place redolent with history and atmosphere. It was here that Charles Edward Stuart first gathered Highland clans from across Scotland for the fateful last war of independence which culminated at Culloden. And it’s the famous Glenfinnan Viaduct bridge here that featured in the Hogwart Express journeys in Harry Potter films.

Harry Potter hadnt been written back then, and I only vaguely knew about the Jacobite connection back then. What I loved was to drop in to the Glenfinnan House Hotel for a cup of tea. No matter how scruffy and muddy our car, or boots, we always felt welcome there. As soon as you enter the hall you’re greeted with a Scottish Highland miasma of huge log fire, vast dark oil paintings depicting various moody mountains, wildlife or battle scenes, a mish-mash of antique furniture and dark wood panelling.

On a sunny day, you might carry your pot of tea into one of the sitting room areas, clad in fading green tartan comfy chairs, where floor to ceiling windows look out on one of the most stunning views in Scotland – across the silvery Loch Shiel to wild mountains beyond. More likely though, you’d sit warming your damp feet in a huge sofa next to the fireplace and find that your head would be almost reeling with … the silence. The sheer redolent and resounding silence after all the city noise!

I painted Beinn Odhar Bheag (pronounced ‘Ben ower beg’ meaning ‘the little dun coloured hill’ in Scottish Gaelic) a few years ago and didn’t think much of it at the time. Dusted off and looked at again, it’s better than I remembered! So I’ll be submitting it for a landscape painting award, and we’ll see what happens.

I’ve left the wood showing through and there’s very little paint used. I added a swathe of darker colour to the left to suggest the ever changing light on the mountains as the clouds pass over.

Adam and I were lucky enough to stay at the hotel for my birthday in November 2020. Though it was lockdown it still felt warm and friendly and we absolutely loved it.

I’m sorry to hear that the couple who managed and cooked for the hotel have moved on to new projects after twenty years. So it’s temporarily closed at the moment, presumably due to open again soon once they’ve appointed new managers, I hope. I wish them luck!

Painting The Living Mountain. Artist’s Journal Pt 4

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(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.

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Themes – Mountains

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Above: A sketch from Rannoch Moor, going in to Glencoe. Rose Strang 2018

As I’m currently painting a private commission which must remain secret until October 2021, I thought I’d post themed blogs in the meantime. Today’s theme is Mountains (paintings below)

My last themes were Sea and Trees. In the next few weeks I’ll  share my paintings of portraits, winter, abstraction, imagination and collaborations

There’s going through mountains and there’s going up them – the former being infinitely more relaxing, though less rewarding! I’ve climbed quite a few in my time, the largest being Tom na Gruagaich, part of Beinn Alligin in Torridon, Scotland.

That was with my partner at the time, who’d learned to navigate with map and compass. To wander into mountains without that knowledge is a dance with death. To give an example, Scottish Mountain Rescue (SMR) reported 13 mountain deaths in 2013. Happily that number is falling thanks to the SMR. Those 13 people were probably wrapped up for the cold and had a map and compass, but simply made some fatal mistakes.

It was probably summer when I climbed Tom na Gruagaich. I remember the fear I felt as we approached the valley, it seemed too vast, not a place for humans to wander. The climb was so arduous (and I was very fit at the time) that I felt I’d disovered entirely new muscles – every part of my being was tired as we approached the top.

It was a plateau covered in mossy ground, soft and perfect for flopping down for a rest. I pulled myself to the edge of the yawning chasm  – a sort of scoured out bowl of cliffs about 3000 feet in height- and gradually realised that a tiny dot moving slowly on the opposite side was a person climbing the cliffs. The land stretched infinitely – the form of bulky, dark mountains huge with snowy tops in all directions.

I took photos but even a wide-angled lens didn’t capture the feeling of epic space. Though it was summer, it wasn’t a place you’d want to linger for too long. Walking back down was a return to gentleness – the sound of streams and birds, the lushness of trees, plants, warm air and safety.

Living in mountains such as these created the tough race of Scottish Highlanders, now scattered around the world – there are now more everywhere else than in Scotland! Even living in the lower Highland valleys requires an ability to survive in conditions most would find intolerable at times – soaked through and snowed in, difficult to get anywhere in winter, but the mountains are so beautiful they can feel like a romantic paradise in spring and summer.

To accompany the following paintings of mountains, here’s Rachel Walker singing Bràighe Loch Iall (Hills of Loch Eil) in Scottish Gaelic – a loch I know well as it’s on the road to Glenfinnan and the west coast. Her song captures the yearning for home that many of these songs do.

 

Mountain Roads

These sketches are easily made, as I sit in the passenger seat of a car! Good practice for sharpening the eye and seeing the essentials. These first ones are going through Glencoe. The paintings of Kintail and a road in the Isle of Harris, were made later in the studio. It’s endlessly entertaining driving through these dramatic mountains!

Rain and Storm

The two odd ones out in the collection below, are the Casares paintings. These are of the mountain village of Casares in the south of Spain. I took a trip into the mountains and was deluged by a sudden rain storm, which made me feel quite at home in terms of painting inspiration. The rest are of mountains in Scotland, with their earthy colours and gritty texture.

Strictly speaking the cliffs of Cleadale on the Isle of Eigg aren’t mountains, but they are suitably dramatic.

 

Winter

I’ve climbed two mountains in the snow. It’s not to be taken lightly. Climbing up Ben Vorlich, a snow blizzard blew up just before we were about to climb up to the plateau and summit, so we waited for it to blow out at the bottom of a cliff, I couldn’t see a thing beyond a foot. Another time, coming down snowy Schehallion in Perthshire, the sun was shining in a dazzling blue sky and I sledged down on my front on a piece of plastic!

Except for Beinn Odhar Bheag below, which I sketched while in Glenfinnan (then painted later in studio) the rest are snowy mountain-scapes of the imagination.

In a few days I’ll post some figurative paintings – portaits and animals.