拍品 43
43
Francis Campbell Boileau Cadell, R.S.A., R.S.W. (1883-1937)
THE FOUR SCOTTISH COLOURISTS The term Colourists was applied to the four artists Peploe, Fergusson, Hunter and Cadell when their works were exhibited together at the Glasgow dealer, T. & R. Annan & Sons while only Fergusson was still alive. Although they only exhibited together three times during their lifetimes, the name has now been widely accepted as the title for the group of artists born in Scotland, who following in the footsteps of their predecessors, the Glasgow Boys, spent time in France where they assimilated contemporary developments and came to have a formative influence over Scottish contemporary art. The Colourists never painted as a group, although Peploe and Fergusson painted together in Brittany in 1904; Peploe and Cadell on Iona from 1920 onwards, and Peploe, Fergusson and Hunter in the South of France in 1927-28. They followed separate careers and developed at different rates. Although Peploe, Hunter and Cadell were individually encouraged by the art dealers Aitken Dott & Son in Edinburgh and Alex Reid in Glasgow, it was not until 1923, in London, that they had their first joint exhibition. The first group exhibition of the work of all four painters took place in Paris the following year. All four artists were drawn to Paris and spent varying periods in the city. The paintings of the French Impressionists and Post Impressionists, particularly Monet and Cézanne, Matisse and the Fauves had a profound influence over their work. The intensity of the light also attracted them on several occasions where they visited Côte d’Azur and further west, Cassis. Contact with many avant-garde artists who had settled there in the early Twentieth Century helped to make the Colourists more aware than most British artists of the latest developments in art. PROPERTY FORMERLY IN THE COLLECTION OF MAJOR ION HARRISON Major Ion Harrison was a highly important patron of Samuel John Peploe, Francis Campbell Boileau Cadell and George Leslie Hunter, three of the four Scottish Colourists. Taking advice from his great friend Dr Tom Honeyman, Director of Glasgow Art Gallery, Harrison assembled an extraordinary range of pictures and became close friends with the artists. His first encounter with the Scottish Colourists was in 1921-22 at Alex Reid & Lefevre’s exhibition of Peploe’s works. Here he was struck by the modernism of the works and the brilliance of colour. Harrison recalled, ‘I had never seen anything in art similar to these pictures, and I did not understand them. They really startled me for, to my eyes, they were so 'ultra-modern' ... and their brilliant colour against equally strong draperies, were at that time beyond my comprehension' (I.R. Harrison commenting in T.J. Honeyman, Three Scottish Colourists, London, 1950, p. 119). Harrison recounts the thrill of his early purchases, citing Peploe’s Pink Rose and a seascape of North Iona as the first of his collection. Peploe is believed to have been his preferred of the three, however, when quizzed further on the subject, Harrison would always reply that he thought them equally great and each distinguished in their own special way, although he named Cadell as the most versatile of the group. Harrison equates their differences and incomparable strengths to the colours they painted, stating, 'As a generalisation I call Peploe the Blue Painter, Cadell the Green Painter and Hunter the Red Painter, for there are very few pictures by any of these artists which do not show a distinct trace of their fondness for their own particular colour' (I.R. Harrison in T.J. Honeyman, op. cit., p. 123). Although the three artists had their own individual style, when hung side by side, he admired their unity of harmony, through their saturated vivid colours, often flattened perspectives and patterned aesthetics. Harrison became close friends with all three artists, who would regularly visit his home. Of the three, Peploe’s friendship was the hardest to attain, but the one he seems to have treasured enormously. He never saw Peploe paint but described the painting technique of Hunter and Cadell, whom he often saw at work. He noted that although they both painted quickly and easily, the contrast of their palettes was indicative of their different characters. Hunter’s he recalled was inevitably caked with huge lumps of paint, onto which he spilled turpentine that liberally splashed all over his suit, ‘one wondered how he ever obtained any distinct colour out of such a conglomerate mess’ (I.R. Harrison in T.J. Honeyman, op. cit., p. 124). Cadell, on the other hand, was meticulous and would wash his palette so thoroughly that one could almost use it as a mirror. His appreciation of their work was echoed in their admiration for each other and the close bond of friendship they all formed. This, however, as Harrison points out, was not free of competition with each believing that they were the strongest artist. This was made intrinsically clear by Peploe who expressed to Harrison, ‘A living artist can never really genuinely appreciate the work of another living artist, for he always thinks that he paints better than the other man.’ (S.J. Peploe, ibid.). Ion Harrison was fundamental to the promotion of Peploe, Hunter and Cadell and the Scottish Colourists work within the canon of Modern British art.
Francis Campbell Boileau Cadell, R.S.A., R.S.W. (1883-1937)

Still Life - Anemones in vase with green book

细节
Francis Campbell Boileau Cadell, R.S.A., R.S.W. (1883-1937)
Still Life - Anemones in vase with green book
signed 'F.C.B. Cadell' (lower right), signed again and inscribed 'Still life/by/F.C.B.Cadell./ABSORBENT GROUND NEVER VARNISH/F.C.B.C.' (on the reverse)
oil on panel
12 x 9 in. (30.4 x 22.9 cm.)
Painted circa 1914.
来源
Major Ion Harrison, and by descent.
出版
Exhibition catalogue, Pictures from a Private Collection, Glasgow, McLellan Galleries, The Thistle Foundation, 1951, no. 80, p. 16.
Exhibition catalogue, Two Scottish Colourists: Samuel John Peploe, R.S.A. and Francis Campbell Boileau Cadell, London, Lefevre Gallery, 1988, no. 18, p. 36, illustrated.
展览
Glasgow, McLellan Galleries, Pictures from a Private Collection, The Thistle Foundation, March 1951, no. 80.
London and Edinburgh, The Scottish Arts Council, Fine Art Society, Three Scottish Colourists, May - June 1970, no. 22, as 'Still Life, Anemones'.
London and Edinburgh, Fine Art Society, Three Scottish Colourists, February - April 1977, no. 50.
Glasgow, Fine Art Society, F.C.B Cadell, 1883-1937: a centenary exhibition, October '983, no. 46: this exhibition travelled to Edinburgh, October - November 1983; and London, November - December 1983.
London, Lefevre Gallery, Two Scottish Colourists: Samuel John Peploe, R.S.A. and Francis Campbell Boileau Cadell, November - December 1988, no. 36, as 'Anemones in a Vase'.

荣誉呈献

Anne Haasjes
Anne Haasjes
+44 (0)20 7389 2681

拍品专文

Anemones in vase with green book was painted circa 1914 at a time when Cadell was exploring the genre of still-life painting and the interior to great effect. It fits into a period of still-life painting when Cadell painted a series of pictures of table-tops arrayed with objects such as Chinese tea bowls, blooms of flowers in jugs, vases, silhouettes and books. These objects are fully interchangeable in the paintings of this period and here we see the inclusion of two books as a central part of the composition with the flowers. The approach to the anemones is very modern, painted in an almost abstract form with the strong use of red and purple as the predominant colours in the composition.
He painted some of his most renowned images before the outbreak of World War I amongst them Afternoon from 1913 and The Black Hat of 1914. The grand interiors of the New Town houses and flats in Edinburgh and their elegant occupants, became his stock-in-trade. With fashionable portraits of Edinburgh hostesses leaning against their marble fireplaces, or grand vistas of their well-proportioned drawing-rooms.
His studio was at 130 George Street and was extremely stylish. His grand Georgian rooms, with its handsome fireplace and well-proportioned windows and doors flooded with light became the real subject of his painting for the next five years. Anemones in vase with green book is most likely to have been painted in his drawing room which served as his studio. The fluidity of brushstroke and heightened colour he had developed were adapted to great effect in these pre-war paintings. Cadell’s still-lifes from this period are perhaps his most sophisticated and accomplished paintings, capturing an elegant intelligence in the placing of objects and a striking juxtaposition of swathes of colour as revealed in this beautiful painting.

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