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In Melville made the first of at least two trips to Venice, a city that captured the imagination of many British painters of his generation. The tours in Spain and Italy nevertheless continued, interspersed with visits to clients and friends in Scotland. His visit to North Africa seemed to recall to him with the drama and ritual of Arab life, and this continued to play a major role in his choice of exotic subject matter. It was a popular literary theme; the tale appears in Elizabethan ballads and was a subject favoured by Victorian artists. Popular subjects were more likely to sell, and Melville was in need of money after making some bad investments. In Melville became engaged to Ethel Croall and they spent much of the summer together on the Isle of Mull. Around this time the artist was also introduced to Walford Graham Robertson, a young admirer, with strong connections in the theatre and the art world. Almost overnight the Pre-Raphaelite-influenced Robertson changed his style to replicate that of Melville and being moderately wealthy was able to offer him sanctuary at Sandhills House in Surrey. This view into a quarry is likely to have been inspired by one of many chalk pits that dotted the Surrey landscape, within easy reach of his new home. This painting is startling in its originality; pools of blue-grey shade snake across the terrain masking the chalk cliffs and their crevices. The narrow gauge railway cutting is partly obscured by dust, and the trucks loaded with blocks of stone are some of the clearest parts of this painting that mostly shows a shadow scattered with spots of detail. He began a suite of four large canvases depicting scenes of the Nativity. While trips to Spain with Ethel continued, his regular submissions to exhibitions in London, Edinburgh and Liverpool petered out and all other work took second place as he struggled to bring these canvases to fruition. Sadly this great sequence was never to be completed, as a result of his sudden death from typhoid in August This painting was the most advanced of the four and only one other, Christmas Morning Aberdeen Art Gallery has survived. Quite why Melville chose to devote himself to this unfamiliar territory remains a mystery. He did not explain himself any further, but it is tantalizing to speculate on what he might have meant. Arthur Melville was the most radical and exciting Scottish artist of his generation and one of the finest British watercolour painters of the 19th century. His bold, dramatic compositions, and ability to evoke colour and light with the brilliance of stained glass, mark him out as a painter of outstanding talent and originality. Arthur Melville, A Cabbage Garden The Eastern Journey. Arthur Melville, An Arab Interior Arthur Melville, Baghdad Arthur Melville, Waiting for the Sultan Dated Scotland and Modernity. He was born in Guthrie, Angus in and brought up in East Lothian. He took up painting while working as a grocer's apprentice, and then attended the Royal Scottish Academy Schools before studying in Paris and Greece. The colour-sense which is so notable a feature of his work developed during his travels in Persia , Egypt and Turkey between and , [1] where he sometimes travelled alone on long inland journeys. To convey strong Middle Eastern light, he developed a technique of using watercolour on a base of wet paper with gouache applied to it. Melville, though comparatively little known during his lifetime, was one of the most powerful influences in the contemporary art of his day, especially in his broad decorative treatment with water-colour, which influenced the Glasgow Boys. Though his vivid impressions of color and movement are apparently recorded with feverish haste, they are the result of careful deliberation and selection. He was at his best in his watercolors of Eastern life and colour and his Venetian scenes, but he also painted several striking portraits in oils and a powerful composition of The Return from the Crucifixion which remained unfinished at his death in It is not a very large picture, but Melville did also paint on a bigger scale — The White Piano , for instance, is a striking, life-size portrait of a young woman, perhaps Mary Jane Margerison, seated at a piano. The White Piano Indeed, Melville's modernity is often startling. For instance, The Chalk Cutting , acquired for the National Galleries Scotland in , is essentially an abstract painting. The Chalk Cutting. It is not surprising that as well as the Glasgow Boys, Melville was a primary inspiration for the Scottish Colourists too, especially the three Edinburgh painters J. Fergusson, S. Peploe and F. We want to know what you think about Art UK. Your feedback will inform how we grow Art UK in the future. Created with Sketch. Support us Discover About Venues. Main menu Close. Sign in Register. Email address. Remember me uncheck on a public computer. First name. Sign up to the Art UK newsletter. Arthur Melville — possibly Royal Watercolour Society. Audrey and her Goats — 9 Arthur Melville — Tate. Seventeen splendid Scottish artists. John Duncan Fergusson: the artistic evolution of a Scottish colourist. Inspired by the east: thoughts about Orientalism. Colour and light: the art and influence of the Scottish Colourists. Seeing the light: the Fauves and the allure of Collioure. Colour for supper: Burns Night with the Scottish Colourists. Eric Ravilious, tennis and Englishness. Mabel Nicholson: overlooked talent and mother of a British art dynasty. Georges Clark's 'Back of Keppoch'. Joan Eardley: painting inner-city Glasgow and the rugged landscapes of Catterline. William Gear: landscapes and abstraction. Henry Raeburn: portraitist of the Scottish Enlightenment. Mary Cameron: a neglected Scottish 'hispagnoliste'. Robert Sivell: portraits and allegories of a Scottish artist. Alistair Park: rediscovering a little- known Scottish artist. Things we lost in the fire: the tragedy at The Glasgow School of Art. Dorothy Johnstone and her contemporaries. Aubrey Beardsley: enfant terrible of the s. Audrey and her Goats —9 Arthur Melville — An Arab Interior Arthur Melville — A Hind's Daughter James Guthrie — A Cabbage Garden Arthur Melville — The White Piano Arthur Melville — Arthur Melville - Wikipedia

Read the latest visit information, including hours. Although he also worked in oils, Arthur Melville is acclaimed primarily for his distinctive and unorthodox watercolours, which combine precise control with looseness and felicitous chance effects. His colour was often dropped on the paper in rich, full spots or blobs rather than applied with any definite brush-marks. The colour floats into little pools, with the white of the ground softening each touch. He was the most exact of craftsmen; his work is not haphazard and accidental, as might be rashly thought. Those blots in his drawings, which seem meaningless, disorderly and chaotic, are actually organised with the utmost care to lead the way to the foreseen result. Often he would put a glass over his picture and try the effect of spots of different colour on the glass before applying them to the surface of his paper. When he was in his early twenties his penchant for travel and adventure led him to embark on a journey to the Middle East, which was to be the defining event of his career. In Melville travelled to Cairo where he remained for nearly a year before following the British imperial route to Aden and Karachi Kurrachee. Early in Melville embarked on an extended trip to the Middle East. He made the obligatory pilgrimage to the Pyramids of Giza in May when he spent a week helping Egyptologist Flinders Petrie to measure the ancient structures, and he also made sketches. When he returned to Cairo, he was just as fascinated by what he saw of the Citadel, bazaars, narrow streets, fruit stalls, carpet sellers and coffee houses as he had been with the ancient Pyramids. It was these crowded lanes and alleys that captivated Melville, offering the chance to record dazzling light. Rich with detail, he carefully picked out the particulars of the smoking and drinking paraphernalia, and the effect of light filtering in through the lattice screens. Melville sent all his completed sketches from this Cairo adventure back to his brother George in Edinburgh. He then set sail on the steamer to Aden and Karachi in February , and then on to Baghdad. Its crisp delineation would tend to confirm this. From Baghdad he travelled overland to Constantinople, encountering a lot of conflict and adventure on the way. The resulting sketches from these adventures provided the material for much of his work throughout the s and s. He would frequently revisit his Cairo and Baghdad sketches, reworking them to inspire spectacular exhibition watercolours. Melville returned to Edinburgh in September to fulfil the first of a series of portrait commissions. He was immediately impressed by these kindred spirits, although his admiration for Bastien-Lepage was considerably less than theirs. Guthrie and Melville then travelled to Orkney, probably to stay with the Clouston family who were solid patrons throughout the decade. It was at this stage in his career that Melville increasingly chose to paint scenes of modern life, in particularly leisure activities such as tennis, ice skating and golf. In the late s, the lure of London was increasing, and in January Melville took a studio in Kensington. While in Paris, they also experienced the throng of the dancing and drinking dens in the district of Montmartre. Since his watercolours of the early s, his handling was more practiced and he was not averse to employing Chinese white in watercolour washes. Dull, wet days made opacity somehow appropriate as he caught the passing lady of Paris with her well-groomed poodle. Such a fashionable parade, even on a colourless afternoon, typified the city of modernity. Melville was one of the few British painters of his generation to actually work in the city streets and inside public venues painting from life. In his tiny sketchbook, Melville made watercolours that captured an almost impossible subject. Working on-the-spot in a dancehall amid the raucous elbowing of a noisy crowd, it is surprising how much he was able to achieve with a small watercolour field-box. After the excitement of Paris, a tour of his clients in Scotland followed, and then he was back in London over the winter. This exhibition, thanks to his efforts more than any other, launched the Glasgow Boys as an international force in the art world. In May of , Melville set off for Spain — a trip that would not see him back in Britain until late in July. It was a route that he retraced the following year and one that would become familiar in subsequent years. In , he visited northern Spain with Welsh painter Frank Brangwyn. His highly worked watercolour was striking, both for its spectacular vertical composition and extraordinarily intense colouring. It seemed that Melville had deliberately strengthened his palette to arrive at colour contrasts that were exceptionally modern in character. In Melville made the first of at least two trips to Venice, a city that captured the imagination of many British painters of his generation. The tours in Spain and Italy nevertheless continued, interspersed with visits to clients and friends in Scotland. His visit to North Africa seemed to recall to him with the drama and ritual of Arab life, and this continued to play a major role in his choice of exotic subject matter. It was a popular literary theme; the tale appears in Elizabethan ballads and was a subject favoured by Victorian artists. Popular subjects were more likely to sell, and Melville was in need of money after making some bad investments. In Melville became engaged to Ethel Croall and they spent much of the summer together on the Isle of Mull. Around this time the artist was also introduced to Walford Graham Robertson, a young admirer, with strong connections in the theatre and the art world.

Melville, Arthur, – | Art UK To find out more read our updated Use of Cookies policy and our updated Privacy policy. By signing up you agree to terms and conditions and privacy policy. I agree to the Art UK terms and conditions and privacy policy. My details can be shared with selected Art UK Partners. Night, Spain c. We want to know what you think about Art UK. Your feedback will inform how we grow Art UK in the future. Created with Sketch. Support us Discover About Venues. Main menu Close. Sign in Register. Email address. Remember me uncheck on a public computer. First name. Sign up to the Art UK newsletter. Photo credit: Glasgow Museums. Arthur Melville: a nineteenth-century artist ahead of his time Duncan Macmillan. Eric Ravilious, tennis and Englishness Samuel Love. Seventeen splendid Scottish artists Andrew Shore. Night, Spain c. Portrait of a Woman. Portrait Sketch c. Staines Bridge, Surrey The Faggot Collector The Lawn Tennis Party at Marcus The Market Stall. The Return from Calvary. The Tragedy of the Morn Arthur Melville painted Audrey and her Goats in , but then had another go at it in Touchstone, a pompous and puffed-up individual full of superficial and pedantic learning, tries to woo the simple goatherd, Audrey. Audrey and her Goats —9. Condescendingly he describes himself with her and her goats as like the exiled poet Ovid among the barbaric Scythians. Audrey however fails to appreciate his condescension or to respond to what he thinks is his poetic courtship. Exasperated by her indifference, he exclaims:. Melville's picture was recently restored at Tate Britain. X-rays taken then show that when he changed the picture he moved the figures closer together. It makes their confrontation more emphatic. His niece and biographer, Agnes MacKay, called the finished painting 'a striking decoration in crimson, green and gold. Melville was a pioneer and it was indeed already 'modern' art. Brought up in East Linton, a little town east of Edinburgh, Melville was initially encouraged by the academician John Pettie who also came from East Linton. He then studied at the Trustees Academy in Edinburgh and went on to Paris where he learnt from the example of the Impressionists, especially from Manet, but did not really copy them. Instead, he developed a way of painting with pure, brilliant colour that was quite his own. Melville was handsome and charismatic. He was also a great raconteur and he did have stories to tell. In he travelled to Egypt where he painted exotic scenes like An Arab Interior. An Arab Interior He then went on to Baghdad and travelled overland from there to Constantinople, outrunning bandits and being entertained by sheikhs on the way. Back in Scotland his work, his personality and indeed his stories attracted the young Glasgow painters later known as the Glasgow Boys. Though Melville has often been called a Glasgow Boy that is incorrect. He was simply an East Coast painter whom they greatly admired. His initial inspiration was the adventurous work of artists like William McTaggart who may actually have taught him and McTaggart's great friend G. Later still, Melville moved to London. In , James Guthrie and several of the other young Glasgow painters went to work near Melville at Cockburnspath in Berwickshire where he was busy with Audrey and her Goats. In his picture, with Audrey boldly at the centre, her honesty and simple directness seem to stand for Melville's richly coloured and autonomous way of painting in contrast to the sophisticated condescension of contemporary artists painting picturesque peasants — the 'Touchstone painters' you might say. Unlike him, they also mostly painted in shades of grey. Indeed his picture was a direct challenge to the French artist Bastien-Lepage, leader of this international movement. He has been fishing. A hind in Scots is a male farm labourer. A Hind's Daughter The painting is his version of Audrey and the condescending Touchstone. It makes Melville's point clearer too. In it, the little girl, standing up from her task cutting cabbages, defiantly confronts the artist who has intruded on her. She is a person, not just a picturesque subject. The point of Shakespeare's comic mismatch of Audrey and Touchstone is the distance between the would-be sophisticate and the simple girl. It is a gap, as Audrey makes clear, that no amount of condescension can bridge. Bastien-Lepage ignores it, but Guthrie makes it explicit as the farm labourer's daughter glares at the painter. Unlike the grey tones of Bastien-Lepage and other fashionable painters of rural subjects, learning from Melville, Guthrie's picture is full of muted purple, blue and green. Melville himself had earlier set the theme of colourful cabbages with his painting of A Cabbage Garden. A Cabbage Garden Others among the Glasgow painters were braver than Guthrie with their colour, however. Hornel was clearly inspired by Melville's example. The Druids: Bringing in the Mistletoe When this picture along with work by Melville and other Scottish painters was shown in Munich, it was a revelation to the German artists. Melville travelled in Spain and North Africa bringing home paintings of dazzling sunlight and vivid colour. Mostly these pictures are in watercolour, a medium he was determined should hold its own with oil painting. But he continued to produce masterpieces in oil as well. A Spanish Sunday, Going to the Bullfight Going to the Bullfight from , for instance, captures the shimmering heat and the southern light as no one other painter could. Here, too, he has adapted for oil paint the technique he developed in watercolour which the critics christened 'blottesque'. He dropped blobs of paint onto his paper and left them dry unbrushed so the purity and intensity of the colour was preserved. You can clearly see the blobs in this painting. It is not a very large picture, but Melville did also paint on a bigger scale — The White Piano , for instance, is a striking, life-size portrait of a young woman, perhaps Mary Jane Margerison, seated at a piano. 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