Founded on donations from the city’s Victorian industrialists and opened at an international fair held in 1901, the huge, red sandstone fantasy castle of Kelvingrove Art Gallery and Museum is a brash statement of Glasgow’s nineteenth-century self-confidence. Intricate and ambitious both in its riotous exterior detailing and within, Kelvingrove offers an impressive and inviting setting for its exhibits. The wide and sometimes bizarre range of objects on show, from a World War II Spitfire suspended from the roof of the West Court to suits of armour, ancient Egyptian relics and priceless paintings by Rembrandt, Whistler and Raeburn, form the basis of an undeniably rich and deliberately varied civic collection.
Most visitors will be drawn to the paintings, most famous of which is Salvador Dalí’s stunning St John of the Cross. You can also acquaint yourself with significant Scottish art including works by the Glasgow Boys and the Scottish Colourists. There’s a special section of paintings, furniture and murals devoted to Charles Rennie Mackintosh and the “Glasgow Style” he and his contemporaries inspired.
The Glasgow Boys and the Colourists
The Glasgow Boys and the Colourists
In the 1870s a group of Glasgow-based painters formed a loose association that was to imbue Scottish art with a contemporary European flavour far ahead of the rest of Britain. Dominated by five men – Guthrie, Lavery, Henry, Hornel and Crawhall – “The Glasgow Boys” came from very different backgrounds, but all rejected the eighteenth-century conservatism which spawned little other than sentimental, anecdotal renditions of Scottish history peopled by “poor but happy” families.
Sir James Guthrie, taking inspiration from the plein air painting of the Impressionists, spent his summers in the countryside, observing and painting everyday life. Instead of happy peasants, his work shows individuals staring out of the canvas, detached and unrepentant, painted with rich tones but without undue attention to detail or the play of light. Typical of his finest work during the 1880s, A Highland Funeral (in the Kelvingrove collection;) was hugely influential for the rest of the group, who found inspiration in its restrained emotional content, colour and unaffected realism. Seeing it persuaded Sir John Lavery, then studying in France, to return to Glasgow. Lavery was eventually to become an internationally popular society portraitist, his subtle use of paint revealing his debt to Whistler, but his earlier work, depicting the middle class at play, is filled with light and motion.
An interest in colour and decoration united the work of friends George Henry and E.A. Hornel. The predominance of pattern, colour and design in Henry’s Galloway Landscape, for example, is remarkable, while their joint work The Druids (both part of the Kelvingrove collection;), in thickly applied impasto, is full of Celtic symbolism. In 1893 both artists set off for Japan, funded by Alexander Reid and later William Burrell, where their work used vibrant tone and texture for expressive effect and took Scottish painting to the forefront of European trends.
Newcastle-born Joseph Crawhall was a reserved and quiet individual who combined superb draughtsmanship and simplicity of line with a photographic memory to create watercolours of an outstanding naturalism and originality. Again, William Burrell was an important patron, and a number of Crawhall’s works reside at the Burrell Collection.
The Glasgow Boys school reached its height by 1900 and did not outlast World War I, but the influence of their work cannot be underestimated, shaking the foundations of the artistic elite and inspiring the next generation of Edinburgh painters, who became known as the “Colourists”. Samuel John Peploe, John Duncan Fergusson, George Leslie Hunter and Francis Cadell shared an understanding that the manipulation of colour was the heart and soul of a good painting. All experienced and took inspiration from the avant-garde of late nineteenth-century Paris as well as the landscapes of southern France. J.D. Fergusson, in particular, immersed himself in the bohemian, progressive Parisian scene, rubbing shoulders with writers and artists including Picasso. Some of his most dynamic work, which can be seen in the Fergusson Gallery in Perth, displays elements of Cubism, yet is still clearly in touch with the Celtic imagery of Henry, Hornel and, indeed, Charles Rennie Mackintosh. The work of the Scottish Colourists has become highly fashionable and valuable, with galleries and civic collections throughout the country featuring their work prominently.