Anne Redpath OBE RSA ARA LLD ARWS ROI RBA, (British, 1895-1965)
Summer Flowers in a Spotted Jug 45.7 x 35.5 cm. (18 x 14 in.)
Summer Flowers in a Spotted Jug
signed 'Anne Redpath' (lower left)
oil on panel
45.7 x 35.5 cm. (18 x 14 in.)
Painted in 1952
Provenance
With Aitken Dott & Son, Edinburgh, stock no.4237
Sale; Phillips, Edinburgh, 5 December 1990, Lot 18
Summer Flowers in a Spotted Jug represents a significant moment in Anne Redpath's career. By the 1950s, Redpath was living in Edinburgh and enjoying a reputation shared by few other contemporary artists in Britain, particularly female painters. She was elected the first woman painter R.S.A in 1952 and had her first solo show at The Lefevre Gallery in London the same year.
Redpath has chosen a vase of summer flowers, a seemingly unchallenging subject matter. However her approach is quite radical. Redpath has chosen an elevated perspective so that the viewer looks down on the subject from a higher-than-normal vantage point. The backdrop, a zingy lime tablecloth, is completely flattened against the picture plane so that the vase threatens to tumble off at any moment. Redpath apparently once commented on this when she warned a buyer of one of her still lifes, 'be careful the objects don't fall off when you get it home!'.
Equally bold is Redpath's palette during this period, consisting of vibrant colours applied in a rigorous manner. Although her choices are daring, colours are carefully considered and work subtly together to create a harmonious composition. Redpath's technique involved an 'all over' approach which disregarded perspective in favour of colour contrast and form. Derek Clarke, a contemporary of Redpath's in the Hanover Street Group, recalls Redpath's 'liveliness and concentration, walking back and forth, turning suddenly to spring surprise on the image and catch it unawares, screwing up her eyes to diffuse the focus and generalise the image.' 'She was at every stage concerned with the whole of the painting rather than concentrating on a small area'. (Patrick Bourne, Anne Redpath 1895-1965: Her Life and Work, Edinburgh, 1989, p.32).
In Summer Flowers in a Spotted Jug, the success of this imaginative technique and brilliant manipulation of paint is realised.
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Summer Flowers in a Spotted Jug 45.7 x 35.5 cm. (18 x 14 in.)
Summer Flowers in a Spotted Jug
signed 'Anne Redpath' (lower left)
oil on panel
45.7 x 35.5 cm. (18 x 14 in.)
Painted in 1952
Provenance
With Aitken Dott & Son, Edinburgh, stock no.4237
Sale; Phillips, Edinburgh, 5 December 1990, Lot 18
Summer Flowers in a Spotted Jug represents a significant moment in Anne Redpath's career. By the 1950s, Redpath was living in Edinburgh and enjoying a reputation shared by few other contemporary artists in Britain, particularly female painters. She was elected the first woman painter R.S.A in 1952 and had her first solo show at The Lefevre Gallery in London the same year.
Redpath has chosen a vase of summer flowers, a seemingly unchallenging subject matter. However her approach is quite radical. Redpath has chosen an elevated perspective so that the viewer looks down on the subject from a higher-than-normal vantage point. The backdrop, a zingy lime tablecloth, is completely flattened against the picture plane so that the vase threatens to tumble off at any moment. Redpath apparently once commented on this when she warned a buyer of one of her still lifes, 'be careful the objects don't fall off when you get it home!'.
Equally bold is Redpath's palette during this period, consisting of vibrant colours applied in a rigorous manner. Although her choices are daring, colours are carefully considered and work subtly together to create a harmonious composition. Redpath's technique involved an 'all over' approach which disregarded perspective in favour of colour contrast and form. Derek Clarke, a contemporary of Redpath's in the Hanover Street Group, recalls Redpath's 'liveliness and concentration, walking back and forth, turning suddenly to spring surprise on the image and catch it unawares, screwing up her eyes to diffuse the focus and generalise the image.' 'She was at every stage concerned with the whole of the painting rather than concentrating on a small area'. (Patrick Bourne, Anne Redpath 1895-1965: Her Life and Work, Edinburgh, 1989, p.32).
In Summer Flowers in a Spotted Jug, the success of this imaginative technique and brilliant manipulation of paint is realised.
Estimate
Time, Location
Auction House
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