The Glasgow Boys

Fülszöveg

A century ago Glasgow nurtured a score of young painters who were later to become renowned throughout Europe and North America as the Glasgow Boys. They were not all born and trained in Glasgow nor did they all live in the city at the same time, but at somé point in their careers they shared, or were frequent visitors to, stúdiós in the vicinity of Sauchiehall Street and St Vincent Street. Most of these young artists were still only in their mid-twenties and what brought them together was a shared enthusiasm for realism or naturalism in subject-matter; strong, elean, fresh colours; and a relish for painting'en plein air'- and, despite the Glasgow sobriquet, a willingness to rangé widely from the east coast of Scotland and Fontainebleau to the Mediterranean and the Middle East for subjects and settings. Their enthusiasm for naturalism was equalled only by their dislike of the Scottish artistic establishment of their day, particularly as embodied in the coterie of Edinburgh painters... Tovább

Fülszöveg

A century ago Glasgow nurtured a score of young painters who were later to become renowned throughout Europe and North America as the Glasgow Boys. They were not all born and trained in Glasgow nor did they all live in the city at the same time, but at somé point in their careers they shared, or were frequent visitors to, stúdiós in the vicinity of Sauchiehall Street and St Vincent Street. Most of these young artists were still only in their mid-twenties and what brought them together was a shared enthusiasm for realism or naturalism in subject-matter; strong, elean, fresh colours; and a relish for painting'en plein air'- and, despite the Glasgow sobriquet, a willingness to rangé widely from the east coast of Scotland and Fontainebleau to the Mediterranean and the Middle East for subjects and settings. Their enthusiasm for naturalism was equalled only by their dislike of the Scottish artistic establishment of their day, particularly as embodied in the coterie of Edinburgh painters who dominated the Royal Scottish Academy. Although many of the Boys - led by James Guthrie, John Lavery, E. A. Walton, Arthur Melville, George Henry and E. A. Hornéi - were to find fame and fortune in later years, the attitűdé of the Glasgow press and public towards them in the 1880s is surprisingly reminiscent of treatment meted out to Charles Rennie Mackintosh in the followingdecade. Like Mackintosh the Boys depended, during their early, experimentál years, on a very small group of discerning and sympathetic patrons. Alsó, like Mackintosh, many of their most important works have since disappeared. In this definitive work, Roger Billcliffe not only treats comprehensively of the individual artists but demonstrates that, as a group, the Glasgow Boys were not an isolated, local phenomenon but part of what can now be seen as a wider international tradition. Vissza