Masters of the Edinburgh School

4 October 2017 - 28 October 2017

Sir William Gillies and Sir Robin Philipson emerged in the post war decades as key figures in the Scottish art scene. Both painters who were based at Edinburgh College of Art became associated with a group now known as the Edinburgh School which included artists Anne Redpath, William MacTaggart and John Maxwell. As colleagues and friends, the group’s work can be characterised by a use of vibrant colour, a free handling of paint and a predilection of working across both oil and watercolour mediums. Gillies and Philipson both enjoyed long and fruitful relationships with The Scottish Gallery, Gillies holding seven and Philipson holding nine exhibitions during their lifetimes. Their artworks continue to play an important role today on the secondary market as more people discover their genius.

Born: 1898
Place of Birth: Haddington
Died: 1973

Sir William Gillies was the dominant figure of the Edinburgh School over which both his personality and his work had a quiet authority. He led by example at the College of Art, encouraging his students to experiment but from a firm grounding in looking, and of course practice, drawing in particular. He also selected his staff to reflect this ethos: men and women who had a similar independence but respected hard work, what William MacTaggart called the good habit. The duties of teaching for Gillies and many of his colleagues in the School of Drawing and Painting were combined with their own practice without conflict; being a professional painter: working and exhibiting, was understood as integral to the reputation and health of the School. Robin Philipson, Elizabeth Blackadder, John Houston, David Michie and James Cumming were the beneficiaries of this attitude, along with their students, quietly instilled by Gillies over his fifty years of influence.

I have been trying to pin down my thoughts on the great man. I do not find it easy. In a way he remains an enigma. I was a student for five years while Gillies was Head of Paintings and yet I had only three or four lessons from him in all that time. The first was when MacTaggart called for Bill Gillies to come and see a painting I had done. He admired it generously and commended it for its tonal values. I had on the easel a much more freely painted thing with apples and a jug. He looked at it and said Apples are not tennis balls. They have planes. He then proceeded to push the wet paint around with his horny thumb, making the apples truly three dimensional, and expressed in planes. On another occasion I was propounding a theory I had come across about Organic Colour Values… I asked him if he did not agree with this. His esponse was typically anti-intellectual. No. Nature always gets the colour wrong, so you have to try to improve it.

David McClure, quoted in W.G. Gillies by W. Gordon Smith, Atelier Books, 1991

The Scottish Gallery exhibitions: 1945, 1949, 1952, 1958 (Festival), 1963 (Festival), 1968, 1971, 1986, 1989, 1991 (Festival), 2011, 2012, 2013, 2016, 2017, 2020, 2023 (Anniversary)

 

Born: 1916
Place of Birth: Broughton-in-Furness
Died: 1992

Sir Robin Philipson had a significant, influential presence on the Scottish Art Scene throughout his lifetime. He served as Head of School of Drawing and Painting at Edinburgh College of Art where he diligently maintained the ideals of the post-war Edinburgh School. And, for a whole decade he was President of the Royal Scottish Academy – a period seen as a Golden Age in Scottish Painting. First and foremost, however, he was a practicing painter.

In 1961 Tom Elder Dickinson described Robin Philipson as ‘…original without being pretentious, forceful without being crass, advanced without being outré. . . At his best he is a supreme painter possessed by a mood of peculiar sensitiveness. I can think of no artist today whose understanding and feeling for the qualities of paint are so perfectly matched to his lyrical purpose; he takes the paint into his very imagination and makes it speak with (an) eloquence and fervour.’

Philipson was enormously important to The Scottish Gallery where we held nine exhibitions in his lifetime. He was doubtless the most high-profile Scottish artist of his generation earning countless honours including a knighthood in 1976.

The Scottish Gallery exhibitions: 1954, 1958, 1961 (Festival), 1965 (Festival), 1968, 1970 (Festival), 1973, 1976 (Festival), 1983 (Festival) 1995 (Memorial), 2003, 2006, 2012, 2016 (Centenary)

His art, its free handling, its meaningful decorative values and its sometimes dark subjects, it remains a serious investigation of life. For him the production of art was essential but brave.

Elizabeth Cumming, 2018

 

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