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JAMES MORRISON THE NORTH WIND

James morrison the north wind

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Page 1: James morrison the north wind

James morrisonThe norTh Wind

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James morrisonThe norTh Wind

6 august – 5 september 2015

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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.2015oil on board, 111.5 x 25.5 cms

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This century-old poem, ‘The Wild Geese’, illustrates Violet Jacob’s feelings towards her homeland of Angus, northeast scotland. Whilst travelling england, she stops for a moment of reflection when she senses the imposing presence of the north wind. Rhetorically, she asks the wind to recall what it has seen during its journey south. Jacob longs for a report on her home, prompting her to remember several of its features. her reminiscing culminates in a vivid recollection of how the wild geese battle with the wind, courageously and habitually, from the fields where they graze daily to their home at sea. Remembering how intent the geese were to reach their domicile prompts her to feel a sense of guilt. she believes that she is weak for not being like those geese; for not returning despite obstacles in her path. At this point, when the memory evokes a yearning too intense to bear, she begs the wind, and her thoughts, to leave.

James Morrison was not consciously thinking about ‘The Wild Geese’ when creating the paintings in this exhibition. however, upon recently rediscovering the poem, he felt that the manner in which Jacob

described the county of Angus resonated with how he paints the same locality.

Jacob’s description of place is more than precise. in addition to recounting what a scene looked like, she simultaneously provides an accurate account of her experience of a place. A ‘lang, lang skein o beatin wings’ does not merely imply that the flock she remembers was physically large, but that she had seen the same sight, repeatedly, as the years passed by. it is the memory, as well as the sight, which was long to Jacob. it is this bilateral precision in terms of description which Morrison appears to admire, and seeks to transmit, via paint.

With meticulous attention to relationships between colours and an expert rendering of tone, Morrison simultaneously pulls viewers into his present and his past. he shows his audience a view which he saw in front of him, but at the same time he projects his memory of various landscapes; memories of the act of painting; and memories of the man he was when he painted previous pictures. This collection of work, like Jacob’s poem, also lends itself to being defined as more than precise.

The Wild Geese / MORe ThAN PRecise

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

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duAliTy

A hybrid blend between ‘the now’ and the ‘memory of now’ results in pictures which appear both ominous and fabulous. On one hand these paintings are things of beauty, but on the other they offer a visual depiction of frustration felt over a continual battle to depict truth via a mind that is engineered to automatically create perfection.

in The Powis, 9.iv.2013 (cat. 39), rain falls on the right side of the picture; drizzle drowns the woods in the background in a veil of wondrous blue. The tree in the centre, closest to this spectacular aquatic

burial, recoils in horror at the spectacle before it. The other central tree, on the left, leans forward – away from its possessed partner. it appears as though this second tree is urging the comparatively tranquil left side of the painting to embrace and protect it from the right side. shifting tones, from the white of the board to fresh green leaves, on the contrasting brighter half, present a scene and evoke a feeling which is altogether warmer. in return for the positive tree’s eagerness to be accepted, clouds gravitate towards it. The balance between the two sides of this painting is harmonious. it is like a definition of yin-yang told via the medium of paint through the genre of landscape. This is not only an aesthetically pleasing picture, but an essay in experience. The view probably never looked this perfect. if it did, the moment was fleeting and Morrison grasped it. Once caught, the painter elaborated upon it – all the while drawing upon memories of brushstrokes and perfections

past. The faultlessness of the landscape and glimmering undertones of the personality of an artist, wrestling with his experience, is a primary duality within these works.

The pictures also present a subsidiary duality. some paintings literally depict scenes which, if they were physically experienced in reality, would generate feelings of conflict within the viewer. For example, if you were to witness the sinister wall of weather depicted in Dark Landscape, 18.i.2015 (cat. 2) whilst out walking, a common reaction would be to retreat swiftly back to the car, or to wherever you had come from, to return to pleasance and warmth. At first these clouds push you away and force you to consider

doing just as described. staying a few moments longer, however, in reality, the scene then dares you to advance.

Take a moment to imagine doing just that…imagine moving forwards as fast as possible and experiencing a wave of

sensations head-on as you enter the elements depicted here. What would the icy January wind feel like as it parted your hair in all directions? What would it feel like as it glided over your cheeks? What would it feel like if you were forced to close your eyes; to be robbed of your vision?

Opposing forces of beauty and danger are also present in Morrison’s more tranquil scenes – pictures like High Tide, 20.viii.2010 and Summer, 31.iv.2014 (ex catalogue). in the former work, if you envisage yourself in that scene, enjoying that symphony of contrasting colours, ask yourself if you are standing? Are you swimming, or are you drowning? in the latter work, are you tall or are you floating away from yourself? The lack of a

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firm physical location for the viewer is an intriguing tool which brings a sense of the unknown to something which at first glance appears so familiar. This tool intensifies the further complexities of the paintings.

These contrasts are the result of years of practise, education and influence. in conversation, the painter referred to the art and artists he admires. he is enthusiastic about Poussin; chinese painting; the hague school; the Barbizon (particularly the oeuvre of Boudin); and, unpredictably, Picasso. it is a luxury to be able to consider this range of enthusiasms, in turn, here. By doing this, it may be possible to decipher how the dualities in Morrison’s work have come to fruition.

iNFlueNce

Poussin’s influence manifests as a baseline in Morrison’s landscapes. Both artists are classicists. Poussin brought classical buildings, characters and stories into his works, but the appearance of his landscapes, with these features omitted, can still be defined as ‘classical’. The French painter’s landscapes instil a concept of completeness. The pictures were not just sets for props and actors. Poussin ensured that viewers understood that there was a world surrounding the scene which he had depicted. in works, he painted the place where people had come from; the place where people were located; and hinted at the place to which they would be going. it was an altogether classic interpretation of space; a visual depiction of time passing in one canvas.

Poussin’s appreciation of a story underpins the world depicted in Morrison’s paintings. Morrison does not simply paint what is in front of him. he paints what he has left behind, what he senses to his sides, and what he believes is beyond himself. This is demonstrated efficiently in End of Winter, 7.i.2012 (cat. 15). it is possible to envision more long grass billowing in the wind in the field behind. it is possible to imagine the view back, if you were to walk all the way out to the mountains located in the far depths of the background.

Morrison specifically mentioned chinese painting when reminiscing over a picture which he wished had never been sold. he lamented

the loss of a work which he felt depicted a perfect harmony between strength and fragility. he recalls painting a bridge which was ready to collapse on itself at any moment. The light, specifically, the impact of the white skies on the light, made the rickety wooden bridge appear the darkest object in the vicinity. The contrast between the bright surroundings and the dark bridge emphasised pending destruction.

Although the picture depicting the bridge is not present in this collection, similar power is generated by works here too. The light and importantly the impact of light on colour encourages the branches of the tree in the centre of Tree and Sea, 3.vii.2014 (cat. 24) to dance, lyrically, in the breeze. The light allows the sturdy structure to showcase how gentle it can be. By blending lessons learned from Poussin’s classical concept of telling a story within space, and chinese artists’

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abilities to emphasise properties of structure via the manipulation of light, Morrison successfully creates the duality of the present and his previous presents in this work. Although the tree is static in the picture, he makes it dance moments of past, present and future in the viewer’s mind via lessons learned from a combination of these two influences.

The impact which the Barbizon school’s technique has had on Morrison has been documented in the past. The hague school, a group of dutch artists directly inspired by Barbizon, has also been underlined as being particularly influential on the artist too. Both schools value the manipulation of tone and light, and the intensification of texture, to capture the essence of moments. The artists belonging to both of these groups carefully balance each attribute in order to add durability to the present moment. With these affiliations obvious, recent talks with Morrison, revealing an admiration for cubism (specifically Picasso), appear surprising. With Morrison ardently proving to be a classicist, and Picasso traditionally representing the antithesis of classicism in art historical discourse, this revelation is intriguing.

Picasso’s cubism, although it remained avant garde until the era of Pop, can perhaps be defined as ‘classical’ in post-modern terms. in the ultramodern world, where images are easily made, reproduced and disseminated, Picasso becomes a ‘classic artist’. Picasso understood how the deconstruction of composition within a painting could evoke different moments and senses on one canvas. A shattered depiction of a guitar in Picasso’s cubist world conjures the sounds it made and how it moved whilst it was being played. cubist concepts of time permeate Morrison’s landscapes. As the trees move, as the branches stretch and shimmy whilst being buffeted by gusts, they mimic cubist evocations of synesthesia. Morrison does not appear to be Romantic about this feature. he appreciates skill and respects his medium, but he cannot help but get excited by the seemingly endless capabilities of paint. his interest in cubism reflects this. it highlights the fun, the sheer joy, which collectively capturing multiple moments and sensations with paint brings to his life.

TOdAy

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

allowed scottish artists, such as horatio Mcculloch, to represent and clarify their identity. The genre has permitted artists to meditate upon what it meant to be scottish and to live in scotland. The nation is comfortable in the knowledge that they are defined by a genre, by a notion of beauty. But is there any place for a contemporary landscape painter in the atomised world of contemporary practice and uncertain politics?

2015 sees the dawn of a new scotland. Whether the 2014 Referendum appears a ferocious tornado or a fragile breeze, there is no denying that new ideas have been scattered like seeds all over our land. Whatever happens in the future, this time is likely to be viewed as a period of germination. it is surprising how fitting organic metaphors are when describing things that are happening in one small area of an intense, dynamic and largely disconnected world.

The effectiveness of organic terminology in describing the current socio-economic and political climate of scotland perhaps reveals why Morrison’s landscapes are still significant in terms of scottish contemporary art. Natural metaphors are efficient at describing change when things are changeable. This may be because a natural life-cycle, such as the seasons in a year, can be used as a gauge. it is now, in times of deep uncertainty about scotland and its place in the world, that the country needs classicism and familiarity in its art. With so much unknown, some grounding is ideal.

Morrison’s pictures can ‘ground’ viewers. They welcome an audience into an environment, away from most people’s everyday normality, and invite exploration. Once viewers have explored their surroundings, they are invited to explore themselves. Beyond this, spectators are permitted to explore the artist. This results in a deeply human connection. it is this connection which makes Morrison’s paintings appear fresh when displayed next to ultramodern work. Rather than appearing dated, his paintings, his classicism and his skill call to question the shelf life of ultramodern pieces. To clarify, when juxtaposed with conceptual work, Morrison’s paintings prompt us to question ourselves; our times; and the world around us. it is for these main reasons that these pictures can be defined as being more than precise.

dR FeRN iNsh

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1 Threatening, 2.i.2013oil on board, 32 x 36 cms

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2 dark landscape, 18.i.2015oil on board, 28 x 40 cms

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

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

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5 storm clouds, 2013oil on board, 14.5 x 18 cms

6 Approaching storm, 2013oil on board, 13.5 x 15 cms

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7 Winter light, 2013oil on board, 18 x 23 cms

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8 Winter dawn, 9.xii.2013oil on board, 50 x 152 cms

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9 Meditation on Nether dysart iii, 7.xii.2013oil on board, 63 x 107 cms

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

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11 Angus, Winter, 19.xi.2013oil on board, 54 x 69 cms

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12 Field edge, 30.xi.2010oil on board, 25 x 50 cms

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13 snow to the North, 2013oil on board, 18 x 49 cms

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14 east dysart, 23.xii.2014oil on board, 48 x 75 cms

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15 end of Winter, 7.i.2012oil on board, 31 x 84 cms

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16 calgary shore, 6.i.2013oil on board, 30 x 93 cms

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

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

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19 summer isles i, 2013oil on board, 19 x 73.5 cms

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20 horse island, 10.x.2009oil on board, 38 x 52 cms

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21 loch Broom, x.2009oil on board, 39 x 101 cms

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

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23 dawn, 15.iii.2014oil on board, 29 x 39 cms

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24 Tree and sea, 3.vii.2014oil on board, 21 x 77 cms

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25 ulva, 8.x.2013oil on board, 28.5 x 147.5 cms

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26 easter Newton, 23.vi.2013oil on board, 15 x 18 cms

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27 summer clouds, 23.vi.2011oil on board, 48 x 101 cms

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28 Tayock, 29.viii.2014oil on board, 74 x 100 cms

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

30 Meditation on Nether dysart i, 3.ii.2014oil on board, 86 x 154 cms

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31 sunlight through the clouds, 10.ii.2015oil on board, 24 x 150 cms

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

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

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34 Approaching Rain, 20.iii.2014oil on board, 59 x 35 cms

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35 clouds from the east, 23.iii.2014oil on board, 35 x 59 cms

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36 storm over the Grampians, 24.iii.2014oil on board, 45 x 50 cms

37 Grampians distant, 2013oil on board, 15 x 29 cms

38 strathmore, 12.iii.2014oil on board, 36 x 60 cms

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

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

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

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

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

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

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

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

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JAMes MORRisONA 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)

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1932 Born in Glasgow1950-54 studied at Glasgow school of Art1958 Won Torrance Memorial Prize, RGi Founder Member of Glasgow Group1962-63 Visiting Artist at hospitalfield house, Arbroath1965 Moved to Montrose Joined staff at duncan of Jordanstone college of Art,

dundee1968 Arts council Travelling scholarship to Greece1969-71 Presenter BBc Arts Programme ScopeFrom 1976 Painting in various regions of France – Provence, isere,

lot and Paris1979-87 senior lecturer at duncan of Jordanstone1987 Resigned post at dundee to paint full-time extended painting trip to canada1988 Writer and presenter of sTV series The Scottish

Picture Show1990, 92, 94, 96 Painting in the canadian high Arctic1997 Painting in Botswana1999 Painting in the Fens, cambridgeshire2003 Painting in switzerland2007 Painting in collioure, France

sOlO eXhiBiTiONs

1956, 58 Mcclure Gallery, Glasgow1959, 64, 67, 75, 78, 84, 88, 90, 92, 94, 97, 99, 2002, 2005 The scottish Gallery, edinburgh1962 The Reid Gallery london1968, 70 Vaughan college, leicester1968, 69 Richard demarco Gallery, edinburgh1970, 77 compass Gallery, Glasgow1971, 72 Galleria Vaccarino, Florence1973 steiger Gallery, Moers, Germany1974 düsseldorf kunstmesse1979, 81, 85, 95, 97, 2000 Thackeray Gallery, london1986 The Fine Art society, Glasgow1987 Waddington and shiell Gallery, Toronto1988 Perth Festival Exhibition, Perth Museum and Art Gallery1989 The scottish Gallery, london The Macaulay Gallery, stenton1990 The Glasgow Paintings, William hardie Gallery, Glasgow1991 Paintings of the Canadian Arctic, The scottish Gallery,

edinburgh1991, 94 The Riverside Gallery, stonehaven1992 Paris in Winter (drawings) – The scottish Gallery,

edinburgh1993 The Arlesford Gallery, hampshire1995 Talbot Rice Gallery, (Arctic works) university of

edinburgh 2000 Painting of Mawana, The scottish Gallery, edinburgh2000 Art London, Art Fair, london with The scottish Gallery2007 New Paintings, The scottish Gallery2009 The Edge of Allegory, The scottish Gallery2012 A View from Here, The scottish Gallery2013 Land and Landscape: The Painting of James Morrison,

Fleming collection, london2015 Paintings of War, Montrose Museum, Montrose

JAMes MORRisON RsA, RsW, d.uNiV.

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GROuP eXhiBiTiONs

1956 The Arts and the Cafe Royal, an exhibition of contemporary painting, edinburgh

1964 +/-30, an exhibition of contemporary scottish Art, scottish Arts council

1966 10 West of Scotland Painters, Arts council Gallery, Belfast1967 First Edinburgh Open 100, Festival exhibition, Richard

demarco Gallery, edinburgh1968 Three Centuries of Scottish Paintings, canada Scottish Contemporary Painting, Richard demarco Gallery,

edinburgh1969 Oireachtais Exhibition, dublin Municipal Gallery 2 plus 3 Exhibition: Two Canadians and Three Scots (with

Robert downing, Jack Wise, Neil dallas Brown and John knox), Richard demarco Gallery

1973 Galleria Acropoli, Venice1976-85 Scottish Art, esu, edinburgh Festival1977 Seven Painters in Dundee, scottish Arts council

exhibition, The Mcmanus: dundee’s Art Gallery & Museum, dundee

1980 Scottish Painting in Holland Scottish Print Open 2, an exhibition of contemporary scottish prints

1981 Art Fair, Basel Contemporary Scottish Painting, Arts council Touring

exhibition Eleven Scottish Artists, universities of surrey and

Nottingham Art in the City, Maclean Gallery, london1981-82 Contemporary Art from Scotland, Touring exhibition:

kendal, london, sheffield, cardiff, Middlesbrough1982 Small is Beautiful, dunkeld Gallery Glasgow Group Jubilee, Mclellan Galleries, Glasgow1983 Noise and Smoky Breath, Visual Images of Glasgow

1900-1983, Third eye centre, Glasgow

1984 Different Kinds of Good Weather, Arts council Touring exhibition

A Festival of Scottish Drawing, Fine Arts society, Glasgow1985 Art for Africa, Contemporary Scottish Art, city of

edinburgh Art centre1985 Portraits on Paper, Scottish Arts council The Parks in Glasgow, compass Gallery, Glasgow1986 Contemporary Scottish Painting, Open eye Gallery,

edinburgh1988 A Festival of Gardens, Fine Arts society, Glasgow 20th Anniversary, Thackeray Gallery, london Post 1945 and Contemporary Art, ewan Mundy Fine Art1989 A View from the North East, esu Gallery, edinburgh The Auld Alliance, Riverside Gallery, stonehaven The Auld Alliance, The scottish Gallery, edinburgh London Sea and Shore, The scottish Gallery, edinburgh1990 Scottish Art, 1900-1990, The scottish Gallery, london Paintings from the Clydesdale Bank Collecion, Glasgow 21 Years of Contemporary Art, Tramway Gallery, Glasgow A Patron of Art, The Royal Bank collection, edinburgh1991 Scottish Art in the 20th Century, Royal West of england

Academy, Bristol1992 150th Anniversary exhibition, The scottish Gallery,

edinburgh1993 The Twelve Days of Christmas, The scottish Gallery,

edinburgh1999 Mountain, Wolverhampton Art Gallery Members of the RSA, The Albemarle Gallery, london Connections, RsA Festival exhibition Painter Members of the RSA, Albemarle Gallery, london2001 Aspects of Scottish Drawings, 1900-2001, The scottish

Gallery, edinburgh2004 Art London with The scottish Gallery2008 Alliance Francaise, (with douglas davies), Glasgow

exhibition 2015 10th Anniversary exhibition, kinblethmont, Angus

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cOllecTiONs

duke of edinburghThe scottish Arts councilAberdeen Art Gallerydundee Museum and Art Gallerykelvingrove Art Gallery and MuseumPerth Museum and Art Galleryedinburgh, Glasgow, heriot-Watt, stirling and strathclyde universitiesdundee college of Further educationVaughan college, leicesterArgyll education committeeTayside education committeeedinburgh education committeestrathclyde Regional councilBank of scotlandBritish linen Bankclydesdale BankRoyal Bank of scotlandTrustees saving BankThe Fleming-Wyfold Art Foundation

BBcGrampian Televisionedinburgh Fund ManagersGeneral Accidentlife Association of scotlandscottish Amicable life Assurance societyearl of Airlieearl of dalhousieearl of MorayBrascan, canadaBritoil plcdistillers co plcWm Grant and sons ltddundas & Wilsonlow and Bonar plcsisis equipment ltdi.B.M.department of the environment (deFRA)Works in offices and Embassies worldwideWorks in Private Collections in the UK, Canada, Europe and USA

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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.

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16 dundas street, edinburgh eh3 6hZ Telephone 0131 558 1200email [email protected]

The scottish Gallery is a partner of the edinburgh Art Festival

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

All rights reserved. No part of this catalogue may be reproduced in

any form by print, photocopy or by any other means, without the

permission of the copyright holders and of the publishers.

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)

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