James Morrison the North Wind

James Morrison The North Wind

James Morrison The North Wind 6 August – 5 September 2015 The Wild Geese

‘Oh, tell me what was on yer road, ye roarin’ norlan wind, As ye cam’ blawin’ frae the land that’s niver frae my mind? My feet they trayvel England, but I’m deein’ for the north—’ ‘My man, I heard the siller tides rin up the Firth o’ Forth.’

‘Aye, Wind, I ken them well eneuch, and fine they fa’ and rise, And fain I’d feel the creepin’ mist on yonder shore that lies, But tell me, ere ye passed them by, what saw ye on the way ?’ ‘My man, I rocked the rovin’ gulls that sail abune the Tay.’

‘But saw ye naethin’, leein’ Wind, afore ye cam’ to Fife? There’s muckle lyin’ yont the Tay that’s mair to me nor life.’ ‘My man, I swept the Angus braes ye haena trod for years—’ ‘O Wind, forgie a hameless loon that canna see for tears!—’

‘And far abune the Angus straths I saw the wild geese flee, A lang, lang skein o’ beatin’ wings wi’ their heids towards the sea, And aye their cryin’ voices trailed ahint them on the air—’ ‘O Wind, hae maircy, haud yer whisht, for I daurna listen mair!’

Violet Jacob (1863-1946)

Pastoral, 20.v.2015 oil on board, 111.5 x 25.5 cms the wild geese / MORE THAN PRECISE

The Powis, 9.iv.2013 (cat. 39)

This century-old poem, ‘The Wild Geese’, illustrates Violet Jacob’s described the county of Angus resonated with how he paints the same feelings towards her homeland of Angus, northeast Scotland. Whilst locality. travelling England, she stops for a moment of reflection when she senses Jacob’s description of place is more than precise. In addition to the imposing presence of the north wind. Rhetorically, she asks the wind recounting what a scene looked like, she simultaneously provides an to recall what it has seen during its journey south. Jacob longs for a accurate account of her experience of a place. A ‘lang, lang skein o report on her home, prompting her to remember several of its features. beatin wings’ does not merely imply that the flock she remembers was Her reminiscing culminates in a vivid recollection of how the wild geese physically large, but that she had seen the same sight, repeatedly, as battle with the wind, courageously and habitually, from the fields where the years passed by. It is the memory, as well as the sight, which was they graze daily to their home at sea. Remembering how intent the geese long to Jacob. It is this bilateral precision in terms of description which were to reach their domicile prompts her to feel a sense of guilt. She Morrison appears to admire, and seeks to transmit, via paint. believes that she is weak for not being like those geese; for not returning With meticulous attention to relationships between colours and an despite obstacles in her path. At this point, when the memory evokes expert rendering of tone, Morrison simultaneously pulls viewers into a yearning too intense to bear, she begs the wind, and her thoughts, to his present and his past. He shows his audience a view which he saw leave. in front of him, but at the same time he projects his memory of various James Morrison was not consciously thinking about ‘The Wild landscapes; memories of the act of painting; and memories of the man Geese’ when creating the paintings in this exhibition. However, upon he was when he painted previous pictures. This collection of work, like recently rediscovering the poem, he felt that the manner in which Jacob Jacob’s poem, also lends itself to being defined as more than precise. Duality past. The faultlessness of the landscape and glimmering undertones of the personality of an artist, wrestling with his experience, is a primary A hybrid blend between ‘the now’ and the ‘memory of now’ results in duality within these works. pictures which appear both ominous and fabulous. On one hand these The pictures also present a subsidiary duality. Some paintings literally paintings are things of beauty, but on the other they offer a visual depict scenes which, if they were physically experienced in reality, would depiction of frustration felt over a continual battle to depict truth via a generate feelings of conflict within the viewer. For example, if you were to mind that is engineered to automatically create perfection. witness the sinister wall of weather depicted in Dark Landscape, 18.i.2015 In The Powis, 9.iv.2013 (cat. 39), rain falls on the right side of (cat. 2) whilst out walking, a common reaction would be to retreat swiftly the picture; drizzle drowns the woods in the background in a veil of back to the car, or to wherever you had come from, to return to pleasance wondrous blue. The tree in the centre, closest to this spectacular aquatic and warmth. At first these clouds push you away and force you to consider

burial, recoils in horror at the spectacle before it. The other central doing just as described. Staying a few moments longer, however, in reality, tree, on the left, leans forward – away from its possessed partner. It the scene then dares you to advance. appears as though this second tree is urging the comparatively tranquil Take a moment to imagine doing just that… left side of the painting to embrace and protect it from the right side. Imagine moving forwards as fast as possible and experiencing a wave of Shifting tones, from the white of the board to fresh green leaves, on sensations head-on as you enter the elements depicted here. What would the contrasting brighter half, present a scene and evoke a feeling which the icy January wind feel like as it parted your hair in all directions? What is altogether warmer. In return for the positive tree’s eagerness to be would it feel like as it glided over your cheeks? What would it feel like if you accepted, clouds gravitate towards it. The balance between the two sides were forced to close your eyes; to be robbed of your vision? of this painting is harmonious. It is like a definition of yin-yang told via Opposing forces of beauty and danger are also present in Morrison’s the medium of paint through the genre of landscape. This is not only more tranquil scenes – pictures like High Tide, 20.viii.2010 and Summer, an aesthetically pleasing picture, but an essay in experience. The view 31.iv.2014 (ex catalogue). In the former work, if you envisage yourself in probably never looked this perfect. If it did, the moment was fleeting that scene, enjoying that symphony of contrasting colours, ask yourself if and Morrison grasped it. Once caught, the painter elaborated upon it – you are standing? Are you swimming, or are you drowning? In the latter all the while drawing upon memories of brushstrokes and perfections work, are you tall or are you floating away from yourself? The lack of a firm physical location for the viewer is an intriguing tool which brings Poussin’s appreciation of a story underpins the world depicted in a sense of the unknown to something which at first glance appears so Morrison’s paintings. Morrison does not simply paint what is in front familiar. This tool intensifies the further complexities of the paintings. of him. He paints what he has left behind, what he senses to his sides, These contrasts are the result of years of practise, education and and what he believes is beyond himself. This is demonstrated efficiently influence. In conversation, the painter referred to the art and artists in End of Winter, 7.i.2012 (cat. 15). It is possible to envision more long he admires. He is enthusiastic about Poussin; Chinese painting; the grass billowing in the wind in the field behind. It is possible to imagine Hague School; the Barbizon (particularly the oeuvre of Boudin); and, the view back, if you were to walk all the way out to the mountains unpredictably, Picasso. It is a luxury to be able to consider this range of located in the far depths of the background. enthusiasms, in turn, here. By doing this, it may be possible to decipher Morrison specifically mentioned Chinese painting when reminiscing how the dualities in Morrison’s work have come to fruition. over a picture which he wished had never been sold. He lamented

Influence the loss of a work which he felt depicted a perfect harmony between strength and fragility. He recalls painting a bridge which was ready Poussin’s influence manifests as a baseline in Morrison’s landscapes. to collapse on itself at any moment. The light, specifically, the impact Both artists are Classicists. Poussin brought Classical buildings, of the white skies on the light, made the rickety wooden bridge characters and stories into his works, but the appearance of his appear the darkest object in the vicinity. The contrast between the landscapes, with these features omitted, can still be defined as bright surroundings and the dark bridge emphasised pending ‘Classical’. The French painter’s landscapes instil a concept of destruction. completeness. The pictures were not just sets for props and actors. Although the picture depicting the bridge is not present in this Poussin ensured that viewers understood that there was a world collection, similar power is generated by works here too. The light surrounding the scene which he had depicted. In works, he painted and importantly the impact of light on colour encourages the branches the place where people had come from; the place where people were of the tree in the centre of Tree and Sea, 3.vii.2014 (cat. 24) to dance, located; and hinted at the place to which they would be going. It was lyrically, in the breeze. The light allows the sturdy structure to showcase an altogether Classic interpretation of space; a visual depiction of time how gentle it can be. By blending lessons learned from Poussin’s passing in one canvas. Classical concept of telling a story within space, and Chinese artists’ abilities to emphasise properties of structure via the manipulation of allowed Scottish artists, such as Horatio McCulloch, to represent and light, Morrison successfully creates the duality of the present and his clarify their identity. The genre has permitted artists to meditate upon previous presents in this work. Although the tree is static in the what it meant to be Scottish and to live in Scotland. The nation is picture, he makes it dance moments of past, present and future in the comfortable in the knowledge that they are defined by a genre, by a notion viewer’s mind via lessons learned from a combination of these two of beauty. But is there any place for a contemporary landscape painter in influences. the atomised world of contemporary practice and uncertain politics? The impact which the Barbizon School’s technique has had on 2015 sees the dawn of a new Scotland. Whether the 2014 Morrison has been documented in the past. The Hague School, a group Referendum appears a ferocious tornado or a fragile breeze, there is of Dutch artists directly inspired by Barbizon, has also been underlined no denying that new ideas have been scattered like seeds all over our as being particularly influential on the artist too. Both schools value land. Whatever happens in the future, this time is likely to be viewed as the manipulation of tone and light, and the intensification of texture, to a period of germination. It is surprising how fitting organic metaphors capture the essence of moments. The artists belonging to both of these are when describing things that are happening in one small area of an groups carefully balance each attribute in order to add durability to intense, dynamic and largely disconnected world. the present moment. With these affiliations obvious, recent talks with The effectiveness of organic terminology in describing the current Morrison, revealing an admiration for Cubism (specifically Picasso), socio-economic and political climate of Scotland perhaps reveals appear surprising. With Morrison ardently proving to be a Classicist, why Morrison’s landscapes are still significant in terms of Scottish and Picasso traditionally representing the antithesis of Classicism in art contemporary art. Natural metaphors are efficient at describing change historical discourse, this revelation is intriguing. when things are changeable. This may be because a natural life-cycle, Picasso’s Cubism, although it remained avant garde until the era such as the seasons in a year, can be used as a gauge. It is now, in times of Pop, can perhaps be defined as C‘ lassical’ in post-modern terms. In of deep uncertainty about Scotland and its place in the world, that the ultramodern world, where images are easily made, reproduced and the country needs Classicism and familiarity in its art. With so much disseminated, Picasso becomes a ‘Classic artist’. Picasso understood unknown, some grounding is ideal. how the deconstruction of composition within a painting could evoke Morrison’s pictures can ‘ground’ viewers. They welcome an audience different moments and senses on one canvas. A shattered depiction of into an environment, away from most people’s everyday normality, and a guitar in Picasso’s Cubist world conjures the sounds it made and how invite exploration. Once viewers have explored their surroundings, they it moved whilst it was being played. Cubist concepts of time permeate are invited to explore themselves. Beyond this, spectators are permitted Morrison’s landscapes. As the trees move, as the branches stretch and to explore the artist. This results in a deeply human connection. It is shimmy whilst being buffeted by gusts, they mimic Cubist evocations this connection which makes Morrison’s paintings appear fresh when of Synesthesia. Morrison does not appear to be Romantic about this displayed next to ultramodern work. Rather than appearing dated, his feature. He appreciates skill and respects his medium, but he cannot paintings, his Classicism and his skill call to question the shelf life of help but get excited by the seemingly endless capabilities of paint. His ultramodern pieces. To clarify, when juxtaposed with conceptual work, interest in Cubism reflects this. It highlights the fun, the sheer joy, which Morrison’s paintings prompt us to question ourselves; our times; and the collectively capturing multiple moments and sensations with paint world around us. It is for these main reasons that these pictures can be brings to his life. defined as being more than precise.

Today Dr Fern Insh

The historiography of Scottish art has confirmed that landscape, as a genre, has become a symbol for Scotland, redefined and updated by succeeding generations of painters. In the nineteenth century, landscape 1 Threatening, 2.i.2013 oil on board, 32 x 36 cms 2 Dark Landscape, 18.i.2015 oil on board, 28 x 40 cms

3 Storm over the Grampians, 14.i.2015 oil on board, 75 x 101 cms

4 Meditation on Nether Dysart V, 12.ii.2014 oil on board, 15 x 154 cms

5 Storm Clouds, 2013 oil on board, 14.5 x 18 cms

6 Approaching Storm, 2013 oil on board, 13.5 x 15 cms 7 Winter Light, 2013 oil on board, 18 x 23 cms 8 Winter Dawn, 9.xii.2013 oil on board, 50 x 152 cms

9 Meditation on Nether Dysart III, 7.xii.2013 oil on board, 63 x 107 cms

10 Winter in Angus, 2.ii.2015 oil on board, 75 x 101 cms

11 Angus, Winter, 19.xi.2013 oil on board, 54 x 69 cms 12 Field Edge, 30.xi.2010 oil on board, 25 x 50 cms 13 Snow to the North, 2013 oil on board, 18 x 49 cms 14 East Dysart, 23.xii.2014 oil on board, 48 x 75 cms 15 End of Winter, 7.i.2012 oil on board, 31 x 84 cms

16 Calgary Shore, 6.i.2013 oil on board, 30 x 93 cms

17 Atlantic Rim, Mull, 31.v.2011 oil on board, 100 x 153 cms

18 Loch Broom, 8.i.2011 oil on board, 32 x 103 cms

19 Summer Isles I, 2013 oil on board, 19 x 73.5 cms 20 Horse Island, 10.x.2009 oil on board, 38 x 52 cms 21 Loch Broom, x.2009 oil on board, 39 x 101 cms

22 Mull, 16.vi.2012 oil on board, 76 x 103 cms

23 Dawn, 15.iii.2014 oil on board, 29 x 39 cms 24 Tree and Sea, 3.vii.2014 oil on board, 21 x 77 cms 25 Ulva, 8.x.2013 oil on board, 28.5 x 147.5 cms

26 Easter Newton, 23.vi.2013 oil on board, 15 x 18 cms 27 Summer Clouds, 23.vi.2011 oil on board, 48 x 101 cms 28 Tayock, 29.viii.2014 oil on board, 74 x 100 cms

29 Westward, 2013 oil on board, 19.5 x 19.5 cms

30 Meditation on Nether Dysart I, 3.ii.2014 oil on board, 86 x 154 cms

31 Sunlight through the Clouds, 10.ii.2015 oil on board, 24 x 150 cms

32 Clouds to the West, 2013 oil on board, 14 x 15.5 cms

33 Strathella, 15.iii.2014 oil on board, 65 x 103 cms

34 Approaching Rain, 20.iii.2014 oil on board, 59 x 35 cms 35 Clouds from the East, 23.iii.2014 oil on board, 35 x 59 cms 37 Grampians Distant, 2013 oil on board, 15 x 29 cms

36 Storm over the Grampians, 24.iii.2014 38 Strathmore, 12.iii.2014 oil on board, 45 x 50 cms oil on board, 36 x 60 cms

39 The Powis, 9.iv.2013 oil on board, 23 x 102 cms

40 Angus, 14.iv.2012 oil on board, 73 x 102 cms

41 To the West, 6.v.2014 oil on board, 26 x 15 cms

42 Approaching Rain, Ulva Ferry, 27.v.2011 oil on board, 75 x 101 cms

43 Towards the Grampians, 10.ix.2013 oil on board, 20 x 146 cms

44 Westerly, 12.ix.2011 oil on board, 100 x 152 cms

45 Tree and Sky, 10.x.2014 oil on board, 35 x 150 cms

46 Trees at Balgove, 12.x.2014 oil on board, 74 x 101 cms

James Morrison A Thank you

His last exhibition in November 2012 celebrated his eightieth birthday and preceded the publication of an excellent monograph on his life and work alongside a retrospective exhibition at The Fleming Gallery in London. Over the sixty years or so of his time as an exhibiting artist much has been written about the developments in his painting, the addition of new subjects, his on-off love affair with the polyptich, his almost steadfast refusal to include fauna in his flora and his adamantine insistence of the relevance of landscape in contemporary art. I can look back on previous forewords and each might be partially relevant this time around. Our exhibitions might be milestones and require some words of introduction and of course new writers can bring fresh insights in front of his paintings. We have a younger, questioning voice to thank in Fern Insh for her introduction so that it would clearly be perverse to ask “what more can be said?” An argument could run that nothing need ever be written because Morrison himself still has much to say and the work can speak eloquently for itself. The hope for any artist at twenty- one or eighty-three is that an exhibition brings the work into the light and makes it available to anyone who might respond. However we have to look after business and placing this note at the back of the catalogue by way of a thank you to Jim seemed the right thing to do. So long as he has something to say, The Scottish Gallery will be delighted to provide the walls and lights and catalogue notes.

Guy Peploe, The Scottish Gallery

Left: Meditation on Nether Dysart III, 7.xii.2013 (detail) (cat. 9) James Morrison RSA, RSW, D.Univ.

1932 Born in Glasgow SOLO EXHIBITIONS 1950-54 studied at Glasgow School of Art 1958 Won Torrance Memorial Prize, RGI 1956, 58 McClure Gallery, Glasgow Founder Member of Glasgow Group 1959, 64, 67, 75, 78, 84, 88, 90, 92, 94, 97, 99, 2002, 2005 1962-63 Visiting Artist at Hospitalfield House, Arbroath The Scottish Gallery, Edinburgh 1965 Moved to Montrose 1962 The Reid Gallery London Joined staff at Duncan of Jordanstone College of Art, 1968, 70 Vaughan College, Leicester Dundee 1968, 69 Richard Demarco Gallery, Edinburgh 1968 Arts Council Travelling Scholarship to Greece 1970, 77 compass Gallery, Glasgow 1969-71 Presenter BBC Arts Programme Scope 1971, 72 Galleria Vaccarino, Florence From 1976 Painting in various regions of France – Provence, Isere, 1973 steiger Gallery, Moers, Germany Lot and Paris 1974 düsseldorf Kunstmesse 1979-87 senior Lecturer at Duncan of Jordanstone 1979, 81, 85, 95, 97, 2000 1987 Resigned post at Dundee to paint full-time Thackeray Gallery, London Extended painting trip to Canada 1986 The Fine Art Society, Glasgow 1988 Writer and presenter of STV series The Scottish 1987 Waddington and Shiell Gallery, Toronto Picture Show 1988 Perth Festival Exhibition, Perth Museum and Art Gallery 1990, 92, 94, 96 1989 The Scottish Gallery, London Painting in the Canadian High Arctic The Macaulay Gallery, Stenton 1997 Painting in Botswana 1990 The Glasgow Paintings, William Hardie Gallery, Glasgow 1999 Painting in the Fens, Cambridgeshire 1991 Paintings of the Canadian Arctic, The Scottish Gallery, 2003 Painting in Switzerland Edinburgh 2007 Painting in Collioure, France 1991, 94 The Riverside Gallery, Stonehaven 1992 Paris in Winter (drawings) – The Scottish Gallery, Edinburgh 1993 The Arlesford Gallery, Hampshire 1995 Talbot Rice Gallery, (Arctic works) University of Edinburgh 2000 Painting of Mawana, The Scottish Gallery, Edinburgh 2000 Art London, Art Fair, London with The Scottish Gallery 2007 New Paintings, The Scottish Gallery 2009 The Edge of Allegory, The Scottish Gallery 2012 A View from Here, The Scottish Gallery 2013 Land and Landscape: The Painting of James Morrison, Fleming Collection, London 2015 Paintings of War, Montrose Museum, Montrose GROUP EXHIBITIONS 1984 Different Kinds of Good Weather, Arts Council Touring Exhibition 1956 The Arts and the Cafe Royal, an exhibition of A Festival of Scottish Drawing, Fine Arts Society, Glasgow contemporary painting, Edinburgh 1985 Art for Africa, Contemporary Scottish Art, City of 1964 +/-30, an exhibition of contemporary Scottish Art, Edinburgh Art Centre Scottish Arts Council 1985 Portraits on Paper, Scottish Arts Council 1966 10 West of Scotland Painters, Arts Council Gallery, Belfast The Parks in Glasgow, Compass Gallery, Glasgow 1967 First Edinburgh Open 100, Festival Exhibition, Richard 1986 Contemporary Scottish Painting, Open Eye Gallery, Demarco Gallery, Edinburgh Edinburgh 1968 Three Centuries of Scottish Paintings, Canada 1988 A Festival of Gardens, Fine Arts Society, Glasgow Scottish Contemporary Painting, Richard Demarco Gallery, 20th Anniversary, Thackeray Gallery, London Edinburgh Post 1945 and Contemporary Art, Ewan Mundy Fine Art 1969 Oireachtais Exhibition, Dublin Municipal Gallery 1989 A View from the North East, ESU Gallery, Edinburgh 2 plus 3 Exhibition: Two Canadians and Three Scots (with The Auld Alliance, Riverside Gallery, Stonehaven Robert Downing, Jack Wise, Neil Dallas Brown and John The Auld Alliance, The Scottish Gallery, Edinburgh Knox), Richard Demarco Gallery London Sea and Shore, The Scottish Gallery, Edinburgh 1973 Galleria Acropoli, Venice 1990 Scottish Art, 1900-1990, The Scottish Gallery, London 1976-85 Scottish Art, ESU, Edinburgh Festival Paintings from the Clydesdale Bank Collecion, Glasgow 1977 Seven Painters in Dundee, Scottish Arts Council 21 Years of Contemporary Art, Tramway Gallery, Glasgow Exhibition, The Mcmanus: Dundee’s Art Gallery & A Patron of Art, The Royal Bank Collection, Edinburgh Museum, Dundee 1991 Scottish Art in the 20th Century, Royal West of England 1980 Scottish Painting in Holland Scottish Print Open 2, Academy, Bristol an exhibition of contemporary Scottish prints 1992 150th Anniversary Exhibition, The Scottish Gallery, 1981 Art Fair, Basel Edinburgh Contemporary Scottish Painting, Arts Council Touring 1993 The Twelve Days of Christmas, The Scottish Gallery, Exhibition Edinburgh Eleven Scottish Artists, Universities of Surrey and 1999 Mountain, Wolverhampton Art Gallery Nottingham Members of the RSA, The Albemarle Gallery, London Art in the City, MacLean Gallery, London Connections, RSA Festival Exhibition 1981-82 Contemporary Art from Scotland, Touring Exhibition: Painter Members of the RSA, Albemarle Gallery, London Kendal, London, Sheffield, Cardiff, Middlesbrough 2001 Aspects of Scottish Drawings, 1900-2001, The Scottish 1982 Small is Beautiful, Dunkeld Gallery Gallery, Edinburgh Glasgow Group Jubilee, McLellan Galleries, Glasgow 2004 Art London with The Scottish Gallery 1983 Noise and Smoky Breath, Visual Images of Glasgow 2008 Alliance Francaise, (with Douglas Davies), Glasgow 1900-1983, Third Eye Centre, Glasgow Exhibition 2015 10th Anniversary Exhibition, Kinblethmont, Angus COLLECTIONS BBC Grampian Television Duke of Edinburgh Edinburgh Fund Managers The Scottish Arts Council General Accident Aberdeen Art Gallery Life Association of Scotland Dundee Museum and Art Gallery Scottish Amicable Life Assurance Society Kelvingrove Art Gallery and Museum Earl of Airlie Perth Museum and Art Gallery Earl of Dalhousie Edinburgh, Glasgow, Heriot-Watt, Stirling and Strathclyde Universities Earl of Moray Dundee College of Further Education Brascan, Canada Vaughan College, Leicester Britoil plc Argyll Education Committee Distillers Co plc Tayside Education Committee Wm Grant and Sons Ltd Edinburgh Education Committee Dundas & Wilson Strathclyde Regional Council Low and Bonar plc Bank of Scotland SISIS Equipment Ltd British Linen Bank I.B.M. Clydesdale Bank Department of the Environment (DEFRA) Royal Bank of Scotland Works in offices and Embassies worldwide Trustees Saving Bank Works in Private Collections in the UK, Canada, Europe and USA The Fleming-Wyfold Art Foundation Land and Landscape: the Painting of James Morrison 160 pp | £30.00 27 x 24 cms

Land and Landscape: the Painting of James Morrison, Dr. John Morrison's book on his father, published by The Fleming Collection, is available in three different versions (blue, aubergine and brown). It was published to coincide with the major retrospective of the artist held at The Fleming Collection, London from the 19th February – 6 April 2013.

James Morrison & Joan eardley In Context with Guy Peploe 20 August 2015, 16:00 – 17:00 RSVP

Guy Peploe will be giving a short talk linking our Festival exhibitions: James Morrison, The North Wind and Joan Eardley In Context. Morrison first came to live at Catterline when Eardley had her cottage in the village and he and his wife, Dorothy, got to know her well. A rediscovered picture from 1963 which Morrison painted as an immediate response to the tragic early death of Joan Eardley will be on display and discussed. Published by The Scottish Gallery to coincide with the exhibition James Morrison: The North Wind 6 August – 5 September 2015

Exhibition can be viewed online at www.scottish-gallery.co.uk/jamesmorrison

ISBN: 978-1-910267-19-6

Photography by John McKenzie Printed by J Thomson Colour Printers

16 Dundas Street, Edinburgh EH3 6HZ Telephone 0131 558 1200 Email [email protected] www.scottish-gallery.co.uk

The Scottish Gallery is a partner of the Edinburgh Art Festival

Front cover: Storm over the Grampians, 14.i.2015 (cat. 3) (detail) Inside front cover: Field Edge, 30.xi.2010 (cat. 12) (detail) Right: Dawn, 15.iii.2014 (cat. 23) (detail)