Issue 14
Our articles for Issue 14 all relate to the first half of the twentieth century, but all shine a light on a different personality and different threads of Scottish art history. Gillian Zealand has been to Montrose to see the exemplary William Lamb Studio, and she reminds us of the man and his extraordinary work. Douglas Erskine considers the outsider, Donald Bain, protege of the great J.D. Fergusson, but a firecely independent force in his own right. Anne Emerson follows up her piece on sculptor, Eric Schilsky with an authoritative survey of the life and work of his painter wife, Victorine Foot. Roger Spence is out and about in Arbroath in 1938, at an exhibition by Patrick Hennessy and W.P. Vannet, whilst discussing their teachers and mentors, James McIntosh Patrick, Edward Baird and James Cowie.
Douglas Erskine discusses how a novice could become one of the leading figures in J.D. Fergusson's New Scottish Group. He sheds a light on the artist, his legacy, Fergusson and France
Victorine Foot was a full member of the post-war Edinburgh Group. Anne Emerson tells the painter's story, from camouflage work to Rudolf Nureyev.
The sculptor recovered from very serious war wounds to become a major figure between the wars. His legacy is the subject of an extraordinary voluntary effort. Gillian Zealand explores the man, his work and the 75 years since his death.
Hennessy is regarded as one of the leading Irish artists of the 20th century, but his work is rooted in his education in Arbroath and Dundee. He and W.P. Vannet followed the same path at the same time, but emerged with very different results.