National Galleries of Scotland Children and Chalked Wall 3 Joan Eardley A6 Address Book

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National Galleries of Scotland Children and Chalked Wall 3 Joan Eardley A6 Address Book

National Galleries of Scotland Children and Chalked Wall 3 Joan Eardley A6 Address Book

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Your studio seemed much further than a staircase away from the crowded, dirty road below. Further still from the tiny two-bedroom tenement which the twelve of us shared. It was there that we returned to our mother every evening; would offer her the day's little crayon sketches and watch her feed them, gratefully, into the fire. Not because she did not appreciate your talent, but because the nights were too cold, the walls too thin, to allow her the luxury of sentiment. Eardley’s interest in these places was, inevitably, a result of circumstance as much as anything more abstract or philosophical, however. Her paintings are testament to her own immersion in these two communities, the choosing of them almost arbitrary. She went to Catterline, for instance, because her friend Annette Soper had a cottage there (which she used for about two years), before becoming attached to the place and renting her own property. This cottage, 1 South Row, was one of only about 30 cottages in the village, and together with those others, became her first interest in painting the place; it was years later that her gaze wandered to the sea and coastline. Eardley’s observation of these places is not pessimistic, but rather, in her movement towards abstract expressionism, her vision is playful, surreal and sublime. There is an earthy romanticism to her work that is both tender and wild. Life is rich and small: children read comics and play with broken toys in Glasgow, seeming otherworldly, with their mask-like faces and intense, direct gazes – in Two Glasgow Lassies (c1962-63), for instance, or Two Boys (Glasgow Children) (c1955). In Catterline, tiny figures seem to be mere detritus caught up in the storm, but in a way that recalls the glory of Marc Chagall or the grandeur of Whistler. Joan Eardley: A Sense of Place During her tragically short career, Joan Eardley concentrated on two contrasting areas of Scotland, which form the focus of this exhibition To celebrate thecentenary of the birth of Joan Eardley (1921–1963), a series of events led by the Scottish Women and the Arts Research Network (SWARN) in collaboration with the University of Glasgow (The Hunterian and Archives and Special Collections), The Glasgow School of Art, Paisley Museum and Art Gallery and Glasgow Women's Library will be taking place in 2021.

The exhibition at Ben Uri brings together five postwar artists, Joan Eardley, Sheila Fell, Eva Frankfurther, Josef Herman and LS Lowry, all of whom shared a common interest in working people and the underlying human condition The final episode of the BBC’s The Story of Scottish Art recently aired on BBC Two Scotland – looking at how the last century has seen artists in Scotland exploring and questioning the theme of identity. The programme will look at Joan Eardley, whose painted portraits of children in deprived suburban Glasgow, and depictions of dramatic landscapes which chart the changes of season celebrate two distinct aspects of Scottish identity: the urban and the rural. Despite her untimely death at the age of 42, Eardley remains one of Scotland’s best loved artists.For around 10 years, she drew and painted the Samsons, a family of 12 who lived in a two-bedroom tenement flat close to her studio. In the family, Eardley found ready child models of all ages and stages. She revelled in their energy and their physical quirks. She once said of Pat, one of the youngest girls, that she wasn't so interesting when she had her squint fixed. Eardley painted Pat and her younger sister Ann, many times. The squint which so interested her is clear in Children and Chalked Wall No. 2, a late work that also plays with a growing fascination with graffiti. Deep recesses, extravagant billows. The human body is somehow there in this voluptuous painting and yet not. Sabine is from a series of works entitled Shift and inspired by the sensuousness Watt observed in the drapings of fabric and clothing in the French painter Jean-Dominique Ingres’ portraits. It is a study in folds and creases, suggestive rather than literal. In an interview with the Herald in 2014, Watt said, “I think the reason I make the paintings I make now is because there are certain roportions that are satisfying and make sense to me, and that comes from my fascination with the human body.”

Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License In 1981, when he was 26, Tim Rollins was asked to develop a curriculum for an intermediate school in the South Bronx that incorporated the making of art with reading and writing as a way to engage young, academically or emotionally “at-risk” students. Together, they began a process they called “jammin’”, in which Rollins or one of the students read aloud from selected books as the others drew, personalising the stories.

You could call Byrne Scotland’s ultimate selfie artist. The artist, dramatist and stage-designer produced so many self-portraits, some of them exaggerated, caricatured, surreal, many psychologically intense. A whole room of 40 of these protean images are currently on display at the John Byrne – A Big Adventure exhibition at Kelvingrove Art Gallery. This early portrait is the one, however, we chose, being perhaps his most familiar Byrne, painted after his returning from California with a ‘Flower Power’ hippy vibe and said to be a tribute to an artist he admired: one of the best-known outsiders of modern art, Henri Rousseau. Your own favourite John Byrne selfie may be quite another. Eardley was born nearly a century ago, on 18th May 1921, on a dairy farm in Warnham, Sussex. The family later settled in London, but with war looming, in 1939 they moved to Scotland. Eardley enrolled at the Glasgow School of Art and in 1949 she staged a small exhibition there. It was reviewed in the Glasgow Herald and, by chance, an art teacher in Aberdeen read the review and invited Eardley to show in a gallery adjoining Aberdeen's Gaumont cinema.

Following her untimely death in 1963 at the age of 42, Joan Eardley’s reputation has grown steadily in the decades since – especially in Scotland, where she lived and worked. Two locations there – Townhead in Glasgow, and Catterline, on the Angus coast – particularly inspired her, and now form the focus of the National Galleries’ exhibition, A Sense of Place. Joan Kathleen Harding Eardley (18 May 1921 – 16 August 1963) was a British artist noted for her portraiture of street children in Glasgow and for her landscapes of the fishing village of Catterline and surroundings on the North-East coast of Scotland. One of Scotland's most enduringly popular artists, her career was cut short by breast cancer. Her artistic career had three distinct phases. The first was from 1940 when she enrolled at the Glasgow School of Art through to 1949 when she had a successful exhibition of paintings created while travelling in Italy. From 1950 to 1957, Eardley's work focused on the city of Glasgow and in particular the slum area of Townhead. In the late 1950s, while still living in Glasgow, she spent much time in Catterline before moving there permanently in 1961. During the last years of her life, seascapes and landscapes painted in and around Catterline dominated her output.Frances Spalding, 'Joan Eardley: the forgotten artist who captured Scotland's life and soul', The Guardian, 10th February 2017 But it all ended with sudden tragedy. Early in 1963, she felt unwell. She put off visiting the doctor. When she did so the diagnosis was breast cancer and it had spread too far. She died in August, aged 42. Her family scattered her ashes on the beach at Catterline, the subject of so many of her pictures. Jasper Johns’ new works at the Courtauld Gallery, Regrets, take inspiration from Francis Bacon, Lucian Freud and the photographer John Deakin. The result is a powerful, if enigmatic exhibition

Inspired by her contemporaries in abstract expressionism, such as William Gear and Jasper Johns, Eardley integrated their influences in a notably original manner, rooted in the scenes she had long observed in Scotland, while nevertheless unafraid to embrace the seeming anarchy of what was then a radical movement to the Scots and English alike. By combining the freedom of abstract expressionism, along with the familiarity of local places, she invoked a wild sublime in these Scottish scenes that remains unique and arresting.



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