Robert Innes - A Breath of Fresh Air by The Scottish Gallery

30 September - 23 October 2021

16 Dundas Street Edinburgh EH3 6HZ THE

+44 (0)131 558 1200 mail@scottish-gallery.co.uk scottish-gallery.co.uk

SCOTTISH

GALLERY

CONTEMPORARY ART SINCE 1842

BY GUY PEPLOE Robert Innes was a little late to painting, attending The Glasgow School of Art in his late twenties. But his maturity and thirst for knowledge and inspiration, his dedication to the practical aspects of his craft and insistence that he be taught, perhaps brought out the best in his tutors. Jimmy Robertson responded some years later to his talented student; “Robert Innes is a self-confessed ‘plein air' painter whose work very much attests to this. His work ranges from the Southern light of Aix-en-Provence to the more demanding light of Argyll in the West of Scotland. It is obvious that he is at home in both climes and tackles each subject with a fresh and natural talent which, at times, is concerned with a tranquil and serene approach and, at other times is much more dynamic. That Robert is a committed painter is without doubt and the fact that he has amassed so much work is further proof of his dedication.” For this his first solo show with The Scottish Gallery, Robert Innes has marshalled all he has learned and has proved to be the genuine article: a plein air painter

with something bold to say about the world around him. Central to the group are the paintings he made on the West Coast of Scotland last Spring, the wild beaches and distant vistas of island outlines, the sparkling salt-water blowing off the wave crests. This summer he has been based in Fife, peeping down into the harbours of villages of the Neuk, seeing the Lothian coast across the golden beaches of Elie and Largo. His spectacular Largo Bay and Cocklemill Burn (cat. 10) is a view through a screen of trees, their dark trunks highlighting the brilliance of the scene beyond, lighting up the bay. His still lifes are simple concepts, beautifully executed; flowers and fruit from the market, modelled in oil paint; marking time before he can get out in front of the landscape, whether in Burgundy, Fife, Argyll or Devon. He is delighted to be understood in the vibrant history of plein airism, of belle peinture deriving from Impressionism, the Colourists and many post-war Scottish painters from James Roberston to George Devlin and Duncan Shanks.

Above: Robert Innes at work, Largo Bay, May 2021

I was born in Kirkcaldy in 1964 and grew up in a house surrounded by colourful paintings. I love drawing and painting and they were the only things I enjoyed at school. They gave me a language in which I could both express and lose myself. I studied architecture and worked in London for the Crown Estate. My elder brother William had a life-changing motorbike accident in 1989, which prompted me to reevaluate my life; it was then that I decided to come back to Scotland to pursue my love of art. I was lucky enough to find my way to Leith 6

School of Art, then in its second year, run by the inspirational Mark and Lottie Cheverton. From there, I moved on to the Glasgow School of Art, winning a place with a ‘best entry portfolio’ award. At Glasgow, I spent a lot of time in the Life Room and enjoyed the teaching of James Robertson, Robin Hume and Barbara Rae. I felt I was racing against the clock to acquire the skills and knowledge that were on offer at the Mack. I had no idea what life would bring after graduating. No one was more surprised than me, when I turned up to my degree show a little late after a bibulous farewell with one of my tutors, to

find a long queue of folk along the corridor outside the studio that I was sharing. Wondering what they were doing, I made my way to my space, and found the head of the queue; everyone was waiting patiently to buy my drawings and paintings. It was then that I thought the dream of becoming an artist was turning into reality. For me, a painting starts with a journey. That might be a short wander into the garden or a longer trip to Fife, the West Coast or France. I use sketch books to make quick sketches, explore compositions and colour studies, but often draw and paint

directly to the canvas. All my work is painted directly from life, with or without preparatory sketches. I love the challenge of painting the sea. Its dynamic movement, the energy of the waves, the light reflecting off its surface and the seabed below. Time being measured by the rise and fall of the tide. The chatter of oyster catchers for conversation. Necessity often overlaps with proximity. Lockdown one coincided with the blossom season in our garden, and I enjoyed a blissful three months following camellia, magnolia, cherry, azalea and rhododendron as their flowering succeeded each other through 7

the garden. Satisfaction in painting falls into two categories. Firstly from the joy of intense and sustained observation alongside the physical translation of looking into mark making and colour. Secondly it comes from expressing the joy of looking at life through the activity of painting, and the sharing of finished paintings. When there is an energy and fluidity in the mark making it translates the dynamism of life into paint, while spontaneously describing the physicality of the subject. If people are uplifted and have their joy in life refreshed by my paintings, I feel I have done my job well. My time is shared between art and my 8

family. Painting mostly outside, you appreciate the changing seasons. Each of the seasons have their own character to explore. I am drawn to spring, the waking of landscape after winter, marked by the exuberant blossoming of the landscape. I love summer. Autumn is a riot of colour. Painting in the chill of winter is quite a challenge. It could be said that I am a seasonal painter: a four seasonal painter. The greatest paintings I have ever seen are the late Rembrandt portraits. He achieves a miraculous fusion of expression and representation. They reflect and embody life. You gaze into the soul of the sitter,

looking through the eyes of the artist, who is ever present but invisible. Manet’s lush brushwork is irresistible. MacTaggart’s plein air landscape painting has been a constant inspiration. Bonnard’s gently anarchic markmaking, tenderness, use of colour and composition have moved me to tears. Both the Glasgow Boys and The Scottish Colourists have taught me a lot about drawing and painting. I love the Glasgow Boys and Macgregor’s vegetable stall in the National Gallery was my favourite painting as a child. But it is the spontaneous and expressive brushwork of The Colourists, bringing

the paintings to life, that really resonates with me. These artists achieve the fusion of expression and representation that I am always striving towards in my work. The visceral Catterline seascapes of Joan Eardley simultaneously stretched both the expression and representational relationship, and the plein air tradition to the limits. I cannot imagine how any artist could not be inspired by Joan Eardley. All these artists’ work show a love of life translated into paint and it is that translation of life into paint which I am forever striving towards. Robert Innes, July 2021 9

1. Jura, a Fresh Breeze, 2021 oil on canvas, 100 x 100 cm 10

2. A Cold Day in the West, 2021 oil on board, 50 x 55 cm 12

3. At Least You Could See it Coming, 2021 oil on board, 23 x 42 cm 14

4. Jura, 2021 oil on board, 38 x 62 cm 15

5. Black Rocks and Seaweed, 2021 oil on board, 21 x 24 cm 16

6. A Hint of Jura, 2021 oil on canvas, 30 x 40 cm 17

Whether he is working in oil or watercolour, on a sun-baked hillside in Southern France or a windswept beach in Scotland, Robert Innes has the rare ability to transport you to the spot at which his painting was created. With his latest work, he continues to develop his favourite themes, experimenting both with greater use of watercolour and much bolder impasto effects in oil. With scenes from France you can feel the dry heat and smell the balsam from the pine trees; with the beach and sea-scapes the water is never far away in his work and you can hear the crashing waves.

Robert has never been constrained by the canvas and he continues to try out different shapes and scales that he feels suit his subject matter best. Intriguingly a stronger figurative element is also emerging and it will be interesting to see how this develops. Having a painting by Robert on your wall is to possess a work by an artist who is truly committed to his profession. In today’s fast-moving and uncertain world, it will also remind you of the need to slow down and simply appreciate the natural beauty of the landscape... which is no bad thing for any of us. James Ogilvy, Ogilvy & Co

7. A Ring of Bright Water, 2021 oil on canvas, 70 x 100 cm 18

8. The Green Boat, 2021 oil on canvas, 80 x 80 cm 20

9. High and Dry, 2021 oil on linen, 80 x 80 cm 22

10. Largo Bay and Cocklemill Burn, 2021 oil on canvas, 100 x 100 cm 24

11. East Neuk Orchard, 2021 oil on canvas, 30 x 30 cm 26

A fabulous bouquet arrived for Louise’s half-century. Too beautiful not to paint. This is really a family portrait, with my grandfather’s violin, a photo of my grandmother, a painting of Sam on the wall and Louise’s flowers.

12. Louise’s Flowers and Grand-daddy’s Violin, 2020 oil on canvas, 100 x 100 cm 28

13. Pomegranate, 2020 oil on board, 19 x 19 cm 30

14. Still Life with Pomegranate and Orchid, 2020 oil on canvas, 60 x 60 cm 31

15. An Apple a Day, 2020 oil on board, 12 x 12 cm 32

16. Winter Still Life, 2020 oil on canvas, 60 x 60 cm 33

17. Crail Harbour, 2021 oil on linen, 50 x 50 cm 34

18. Devonshire Boat, 2021 oil on canvas, 40 x 40 cm 36

19. Elie, 2021 oil on canvas, 20 x 50 cm 38

20. The Pentlands, 2021 oil on board, 22 x 35 cm 39

21. A Blast of Fresh Air, 2021 oil on canvas, 100 x 150 cm 40

22. Largo Surf, 2021 oil on board, 20 x 27 cm

23. Largo Law, 2021 oil on board, 21 x 32 cm 42

24. Largo Bay, 2021 oil on board, 22 x 35 cm 43

25. Islay, Evening Light, 2021 oil on board, 24 x 34 cm 44

26. Dancing in the Rain, 2021 oil on canvas, 20 x 50 cm 45

27. Port Ban and the Paps, 2021 oil on canvas, 50 x 50 cm 46

28. Cretshengan Bay, 2021 oil on canvas, 50 x 50 cm 47

Try everything that can be done. Be deliberate. Be spontaneous. Be thoughtful and painstaking. Be abandoned and impulsive. Learn your own possibilities. George Bellows, 1920

29. Millers Bay, 2021 oil on canvas, 100 x 100 cm 48

30. A Cold Grey Evening on Knapdale, 2021 oil on canvas, 50 x 50 cm 50

31. A Northerly Blowing Down the Sound, 2021 oil on canvas, 50 x 50 cm 51

32. Snow on the Tops, 2021 oil on canvas, 70 x 100 cm 52

33. Crear Beach, 2021 oil on canvas, 30 x 30 cm 54

34. Millers Bay and the Paps, 2021 oil on canvas, 50 x 50 cm 55

1987 Art for Guys, Hays Galleria, London 1990 Year Show, Leith School of Art Best Entry Show, The Glasgow School of Art 1994 Paths of Development, Assembly Gallery, Glasgow School of Art Degree Show, GSA Cream of the Graduates, Graduate Gallery, Edinburgh 1995 Class of 94, Art Exposure Gallery, Glasgow RSAMD, Glasgow 20th Annual Exhibition, Macon Salon, France 1996 Mountain Paintings, Ambleside Mountain Festival Beaujolais Landscapes, Firth Gallery, Edinburgh Paysages, Pierres Dorées, Galerie Dorée, Lyon 135th RGI Exhibition, Glasgow

1997 Summer Show, Roger Billcliffe Fine Art, Glasgow 136th RGI Exhibition, Glasgow Frames Gallery, Perth

2002 114th Paisley Art Institute Show Lennox Gallery, London Air Gallery, London Dundas Street Gallery, Edinburgh

1998 Scottish Artists, Richmond Hill Gallery Fire & Iron Gallery, Surrey Festival Show, Firth Gallery, Edinburgh

2003 115th PAI St Petersburg Tercentenary Festival Exhibition

1999 Scottish Artists, Thomson’s Gallery, London The Air Gallery, London 2000 Edinburgh Festival Show at Hamilton & Inches, Edinburgh The Air Gallery, London 2001 Corrymella Scott Gallery, Newcastle Summer Small Picture Show, Roger Billcliffe Fine Art Exhibition for CLIC, Christies, Glasgow

2004 116th Paisley Art Institute Show Tolbooth Gallery, West Wemyss Air Gallery, London 2005 117th Paisley Art Institute Show Hitchman Gallery, Stirling University Kinsteary, Nairnshire 2006 118th Paisley Art Institute Show Air Gallery London 2007 119th Paisley Art Institute Show Espace André Malraux, Tarare Stirling University Air Gallery, London Art Station, Gallery, Legny

2008 120th Paisley Art Institute Show 45th Salon De Printemps, Tarare d’Honneu 54 The Gallery, London

2013 Capitals Exhibition, 54 Gallery, London The Dundas Street Gallery, Edinburgh

2009 46th Salon De Printemps, Tarare Invitée d’Honneur Art Station Gallery, Legny

2014 Roger Billcliffe, Small Paintings. 54 Gallery, London and Elie, Fife. Somerset Open Studios, London Art at Home, courtesy of Sarah Sclater Gallery Christmas Exhibition, Lemond Gallery, Glasgow

2010 54 The Gallery, London La Maison Commune, Oingt 122nd Paisley Art Institute Show Art Station Gallery, Legny St Helier, Jersey 2011 La Maison Commune, Ternand 123rd Paisley Art Institute Show Paysages Beaujolais, Galerie Lionnes de Kaolin, Oingt en Beaujolais Marie-Curie, Twickenham Stadium 2012 54 Gallery, London Invited Artist, 6th Biennale, Vaux en Beaujolais Somerset Open Studios, London

2015 Corrymella Scott, Sage Exhibition The Whitehouse Gallery, Kirkcudbright, Seascapes. 54 Gallery, London, and Elie, Fife. Art at Home, courtesy of Sarah Sclater Gallery 2016 Invited artist, 7éme Biennale de Vaux en Beaujolais Portmanteau Gallery, Bridport 54 Gallery, London

2017 Scottish Show, Carina Haslam Gallery 54 The Gallery: Paintings by Robert Innes and Scuplture by Pamela Jenkins Autumn Show, Nadia Waterfield Fine Art 2018 Spring Show, Nadia Waterfield Fine Art 54 The Gallery: Paintings and Ceramics by Robert Innes and Bjork Haraldsdóttir 2019 Spring Show, Nadia Waterfield Fine Art Summer Show, Wade Gallery, Elie Christmas Show, 54 The Gallery. 2020 Summer Exhibition, Wade Gallery, Elie 54 The Gallery, Shepherd Market, London, W1 2021 A Breath of Fresh Air, The Scottish Gallery, Edinburgh

Published by The Scottish Gallery to coincide with the exhibition: Robert Innes A Breath of Fresh Air 30 September - 23 October 2021 Robert Innes would like to thank everyone who has helped him along the way: notably inspiring art teachers Rose Arbuthnott and John Brown at school; Mark and Lottie Cheverton at Leith School of Art; Robin Hume, Jimmy Robertson and Barbara Rae at Glasgow School of Art. My parents Michael and Sarah for their encouragement and support. My wife Louise and children for being the bedrock of my life. The many collectors who have shown faith in my work and put paint on my palette. The team at The Scottish Gallery have been a delight to work with and I hugely appreciate all the hard work they have put in to bring about this exhibition. Exhibition can be viewed online at: scottish-gallery.co.uk/robertinnes ISBN: 978 1 912900 42 8 Photography by Robert Innes Front cover: The Pentlands, 2021, oil on board, 22 x 35 cm (detail cat. 20) Designed and produced by The Scottish Gallery Printed by Pure Print All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyrightholders and of the publishers.

THE

SCOTTISH

GALLERY

CONTEMPORARY ART SINCE 1842