- 127
Anne Redpath, R.S.A., A.R.A. 1895-1965
Description
- Anne Redpath, R.S.A., A.R.A.
- a bouquet (recto), landscape (verso)
- signed l.l.: Anne Redpath
- oil on board
Provenance
Edinburgh, Aitken Dott & Son;
Bembridge, Isle-of-Wight, Island Gallery;
Private collection
Catalogue Note
Writing in 1965, Terence Mullaly noted in Redpath's work, that 'pinks and greys, mauve and lilacs are colours which she commands. Equally remarkable is Anne Redpath's use of white. I have now for several years lived with a large still life by her which is in effect a study in white. It is a picture of beauty; handled with boldness, indeed bravura. It combines to a degree today rare decisive use of paint, an uninhibited delight in its qualities, and a respect for the thing seen.' (Terence Mullaly, Anne Redpath Memorial Exhibition catalogue, The Arts Council of Great Britain Scottish Committee, 1965, p. 3) The qualities described by Mullaly are very much here as well as the subtle beauty which make Redpath's still lifes so compelling. Her use of white also recalls the work of Christopher Wood for whom Redpath had a lifelong admiration. She described her philosophy herself: 'Young women often come up to me and say; "I am going to be like you and give up everything for painting", but that's not how I see it at all. I could never have sacrificed my family to painting, and I don't think anyone else should either... I put everything I had into house and furniture and dresses and good food and people. All that's the same sort of thing as painting really, and the experience went back into art when I began painting again' (ibid Mullaly, p. 7).
The same vase appears in other pictures by Redpath, including Bric-a-Brac c.1958 (Art Gallery of South Australia, Adelaide) and Self-Portrait with a Venetian Mirror c.1956 (private collection) and Daisies c.1956 (private collection). It is visible in a photograph of Redpath's studio at London Street, standing on a shelf among Redpath's collection of ceramics.