Various Artists

A Legacy in Colour | The Peploe Family

7 March 2024 - 6 April 2024

There are many examples of artist dynasties in the history of art. In earlier times art was sometimes a family business, the virtues and attributes of one generation continued in the next. The genetic component (however uncertain) would sometimes out and other nurturing aspects of an artist’s development perhaps made a career more likely in the next generation. And it is not unusual for artists to marry artists, refreshing the gene pool, as is the case with the Peploes.

A Legacy in Colour invites viewers to witness the Peploe family’s artistic legacy, appreciating the diversity within their shared commitment to artistic expression. From the vibrant palettes of Samuel John Peploe to the direct, physical work of Denis Peploe, this exhibition celebrates the enduring impact of a family that significantly shaped the art scene in Scotland and beyond.

About S.J. Peploe

S.J. Peploe
RSA
Born: 1871
Place of Birth: Edinburgh
Died: 1935

Born in 1871 in Edinburgh, S.J. Peploe is the senior of the four artists known as The Scottish Colourists. He lived in Paris from 1910 until 1912, where his work changed radically from paintings reminiscent of Manet and Sargent to brilliant Fauvist works which placed him in the vanguard of British Modernism.

My memories of S. J. Peploe are the memories of our friendship which was wonderful and interesting all the time. Nothing about it was spectacular. It was merely a happy unbroken friendship between two painters who both believed that painting was not just a craft or profession but a sustained attempt at finding a means of expressing reactions to life in the form demanded by each new experience. This is quite different from arriving at a way of doing a thing and continuing to do it in a tradesmanlike manner. By life we meant everything that happened to us; and, as we were curious about life, we painted all sorts of things – men, women, children, landscape, seapieces, flowers, still-life – anything. – Memories of Peploe, J. D. Fergusson, 1945

S.J. Peploe & The Scottish Gallery 

In November 1898, the partners of Aitken Dott & Son bought the painting A Gypsy Queen by S.J. Peploe. Two years before, senior partner Peter McOmish Dott had formed The Scottish Gallery to identify the picture dealing part of the firm as distinct from the other businesses – architectural supplies, artist’s materials, framing, gilding and other services – and determined to represent the best of contemporary Scottish painting. The purchase of Peploe’s painting initiated a close relationship between the firm and the artist, then aged twenty-seven. McOmish Dott was a wholehearted admirer of Peploe’s early paintings, and a show was arranged for January 1903, which was a commercial and critical success. Peploe held a second exhibition in 1909, but from then his practice moved towards modernism and Dott struggled to accept the radical expressionist work the artist brought back from Paris after his move in 1910. However, the younger partner of the firm George Proudfoot, and subsequent directors, continued their support for the artist. From the early 1920s The Gallery held a joint contract with Alexander Reid in Glasgow to buy work directly from the artist, an arrangement that allowed Peploe to remove himself from the commercial world and concentrate on his painting, particularly his new subject of Iona and the magnificent rose and tulip paintings of his maturity. Solo exhibitions were held in 1922, 1923, 1924, 1927, 1934, 1936 (Memorial) and The Scottish Gallery has held numerous notable solo exhibitions subsequently including the artist’s 150th anniversary in 2021.

The Scottish Gallery exhibitions: 1903, 1909, 1922, 1923, 1924, 1927, 1934, 1936 (Memorial), 1947, 1985, 1990 (Edinburgh & London), 2012, 2021 (Bicentenary)

About Denis Peploe

Denis Peploe
RSA
Born: 1914
Died: 1993

Denis Peploe RSA (1914–1993) was born in Edinburgh, the second son of the Scottish Colourist S. J. Peploe. Growing up within one of Scotland’s most distinguished artistic families, he accompanied his father on painting trips to Iona and the south of France, yet from an early stage developed an independent artistic identity and remained wary of direct comparison with his celebrated parent.

At seventeen he enrolled at Edinburgh College of Art, where contemporaries included Wilhelmina Barns-Graham and Margaret Mellis. His talent was quickly recognised through scholarships to Paris and Florence, followed by extensive travels in Spain, Italy and Yugoslavia. Exposure to European modernism informed his early work, but his career was interrupted by six years of military service during the Second World War, during which he rose from enlisted soldier to Captain in the Special Operations Executive.

Returning to painting in 1946, Peploe sought inspiration in the dramatic landscapes of the West Highlands. The mountains and sea lochs around Plockton, Applecross and Torridon became enduring subjects, painted with an expressive intensity that distinguished his work from the more decorative traditions associated with the Scottish Colourists. His first exhibition at The Scottish Gallery in 1947 was met with remarkable critical acclaim, prompting one reviewer to describe him as “an artist born fully armed” and another as “a vital and adventurous painter.”

Throughout his career Peploe remained committed to direct observation, whether painting Highland landscapes, Mediterranean harbours, still life or the human figure. Travel to Cyprus, Spain and France enriched his palette and broadened his vision, while his teaching at Fettes College and later Edinburgh College of Art provided a stable framework for a deeply personal studio practice.

His son, Guy Peploe, explains:

“While he was intimately exposed to the mainstream of European art he remained better defined as an artist who responded directly to his subject, en plein air or in the studio. Here the challenge was a live model, or the intellectual exercise of reinvigorating the still life subject. His work remained free of political or art-world references but was at the same time formed by the century of modernism, the times of unprecedented turmoil and change to which he belonged. His response was to cleave to the idea that art was important, even redemptive and that it could somehow describe a better, or more vital place.”

A longstanding artist of The Scottish Gallery, Denis Peploe first exhibited with the Gallery in 1947 and remained an important presence throughout his career. Today his work is recognised for its painterly vigour, emotional honesty and singular contribution to twentieth-century Scottish art.

The Scottish Gallery exhibitions: 1947, 1948, 1951, 1954, 1984, 1988, 1990, 1995 (Memorial Exhibition), 2006, 2010, 2014 (Centenary Exhibition).

About W.W. Peploe

W.W. Peploe
Born: 1869
Died: 1933

W.W. Peploe was the older brother of S.J. Peploe, and a talented artist in his own right. He never took the leap to imagine a professional career. Instead, he worked, eventually as Manager with his father’s bank, at the Stockbridge branch from 1901. The brothers were close and they often holidayed together, particularly after the Great War travelling to Iona where Willie made competent drawings of the vistas. In 1906 he published Memories and Illusions a book of thirty black and white drawings in Indian ink, described in the frontispiece as “A Gift to his Friends.” Subsequently the Booklovers Magazine, an American journal published between 1903 and 1909 with a peak circulation of 100,000, reproduced a number of the images with positive notes from the editor. French symbolism is clearly linked and the work of Aubrey Beardsley a direct influence both stylistically and thematically.

About Clotilde Peploe

Clotilde Peploe
Born: 1915
Died: 1997

Clotilde (Cloclo) Peploe was born in 1915. She was the daughter of Christopher Brewster, an American born in Austria and Elizabeth von Hildebrandt, a daughter of an Austrian sculptor who has acquired a former monastery called San Francesco in Florence as family home and studio. Elizabeth was also a painter and she and her daughter travelled extensively for work and inspiration in Italy in the thirties. During the 1930’s Clotilde and her mother spent long months painting together in southern Italy, and later in Corfu and on mainland Greece. At the same time she became romantically attached to Willy Peploe, son of the Scottish artist, S.J. Peploe, whom she married in Athens in November 1939. Her typical subject is the arid, mineral landscape of Calabria and the Greek islands, complex, ancient landscapes at once fertile and hostile. The film Grandmother’s Footsteps is a charming and beautiful bio-pic and meditation on the calling of the artist made in recent years by Lola Peploe

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