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framed dimensions: 91.5 x 117 cm
signed lower right; title inscribed on label verso
PROVENANCE:
Glasgow School of Art
Still Life with Five Vases is a refined composition that reflects the visual clarity and sensitivity characteristic of the Edinburgh School. A subtly tilted tabletop in warm cream tones provides the foundation for five carefully arranged vases, each containing a distinctive flower: daisies, pansies, a calla lily, a bearded purple iris, and dusky poppies. The grouping feels both intentional and effortless, revealing Renton’s intuitive sense of balance and placement. A dark background sets the scene in quiet contrast, allowing the floral forms to emerge with clarity and grace. A single black feather placed horizontally, and a pair of small boxes introduce subtle structural elements, contributing to the compositional rhythm and sense of harmony. Much like her contemporary Elizabeth Blackadder, Renton cultivated her garden as both a source of visual inspiration and personal delight. Her connection to the natural world is evident in this rare painting, where the beauty of ordinary things is elevated through careful observation. The space between objects, the interplay of surface and texture, and the calm presence of the arrangement all come together to create a painting filled with vitality, intimacy, and quiet joy.
Joan Renton was born in Sunderland, County Durham. She studied painting at Edinburgh College of Art from 1953-58, and counted William Gillies, John Maxwell and William MacTaggart amongst her teachers. After a post-diploma scholarship year in 1959, she was awarded a travelling scholarship which she spent in Spain. In 1960, she took a teaching diploma at Moray House, Edinburgh, and taught art throughout Edinburgh until 1980. Renton was elected a member of SSA in 1960, SSWA in 1972 (becoming President in 1990) and RSW in 1974. Her subject matter ranges from landscape, botanical studies and still life. The Gallery represented Renton in the 70s and 80s.
Renton’s paintings and works on paper are a revelation; her practice puts her firmly in the Edinburgh School of Painting. At her best, her painting equals that of her direct contemporary, Elizabeth Blackadder.
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