PAT DOUTHWAITE THE OUTSIDER
PAT DOUTHWAITE THE OUTSIDER
1 – 25 JUNE 2016
16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL mail@scottish-gallery.co.uk www.scottish-gallery.co.uk Cover: Albino Peacocks from Eskdalemuir, 2000, oil on canvas, 180 x 120 cms (cat. 35) (detail) Left: Woman with a Terrapin, c.1966, oil on board, 120 x 120 cms (cat. 10) (detail)
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FOREWORD My mother would refer to herself as ‘The High Priestess of the grotesque’, which certainly says something about how she saw herself. My own memories oscillate between a mother, woman and a painter. There is no question that her work was the most important thing to her – she was relentlessly driven by a strong creative energy and produced an amazing quantity of paintings and drawings. Themes and ideas would seem to come from nowhere and quickly develop into a full-blown series of pictures, and fuelled with emotion she would work through the night, usually working on the floor, listening to records of classical music, jazz or film soundtracks, played loud. She admired ancient and tribal art, which could be a source of inspiration, as could animals, as subjects as well as companions – more like close friends, compensating for the lack of trust she generally had in people. She loved travel (although she hated flying) and far-flung places were a source of subjects and inspiration. She was bright, articulate, funny and sometimes outrageous but could also be her own worst enemy, alienating people and passing up opportunities, and also making herself vulnerable. She met many of the leading artists of her time but they were often considered rivals and the contact severed. Theatricality was in her training and her personality and this, combined with the driven nature of her talent, made her an unusual, often misunderstood but utterly original artist. Toby Hogarth, 2016
Opposite: Portrait of Pat Douthwaite, by George Oliver, 1987
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Blindfold, 1965 oil on board, 80 x 95 cms, oil on board Acquired by the Scottish National Gallery of Modern Art, Edinburgh, 2013
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Hogey Bear, 1960 oil on board, 120 x 133.5 cms, signed & dated lower left Acquired by the Scottish National Gallery of Modern Art, Edinburgh, 2013 “Hogey Bear is a portrait of Douthwaite’s husband whose affectionate nickname gives the painting its title. She noted that this painting is also a partial self-portrait, which shows her pregnant with Toby. Douthwaite cited the French artist Jean Dubuffet as an early influence and in 1960 she saw his show The Men with Beards in Paris. She was captivated by the imagery in his work but said she was too naive to appreciate his technique. The impression that Dubuffet made on the artist is evident in this painting through the mottled and graphic approach.” Alice Strang, Modern Scottish Women: Painters & Sculptors 1885-1965, National Galleries Scotland, 2015, p.44
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PAT DOUTHWAITE BY GUY PEPLOE
This exhibition coincides with the publication of the first monograph of Pat Douthwaite by Guy Peploe, published by Sansom and Co. Pat Douthwaite is one of the most distinctive artists of the post-War period and this marks a significant milestone in the reappraisal of the artist who has recently been included in the Scottish National Gallery of Modern Art’s exhibition Modern Scottish Women: Painters and Sculptors 1885-1965. The book uses several significant archives of previously unpublished letters and includes illustrations of previously unseen works. The book covers all periods and themes of this most enigmatic and powerful of artists. Guy Peploe will give a public lecture on the artist at the Hawthornden Lecture Theatre, Royal Scottish Academy, on June 6th at 12.45. Please contact the RSA for more information. The Scottish Gallery will be holding a book signing on the 4th June, 11am-1pm, with Guy Peploe. Book cost: £25
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Pat Douthwaite, c.1958
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1950s
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1 Man Smiling, 1959 monotype, 50 x 40 cms signed lower right Exhibited Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, ex.cat. Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 50
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2 Suffolk Landscape, Winter, 1959/60 oil on board, 118.5 x 178.5 cms signed and dated lower right, signed and inscribed with title on fragmented label verso Exhibited Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 3 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 4
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Pat Douthwaite, 1969
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1960s
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3 Village Taxi, 1960-64 oil on board, 90 x 120 cms signed and dated lower right; inscribed with artist’s name verso Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 6
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4 Isn’t it Great?, 1960 oil on board, 120 x 120 cms signed on verso Exhibited Douthwaite - Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow and Peacock Printmakers, Aberdeen, 1988; Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001 Illustrated Douglas Hall and Cordelia Oliver, Douthwaite – Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow, 1988, p.21
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5 Don with Dog, 1962 oil on board, 80 x 95 cms signed upper left Exhibited Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, ex. cat. Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 8
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6 The Family, 1963 oil on canvas, 90 x 120 cms signed and dated verso Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 10
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7 Collage, c.1965 mixed media and collage on board, 120.5 x 105.5 cms unsigned
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8 Animal with Sharp Teeth, c.1965 oil on board, 70 x 90 cms signed on verso
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9 Woman with Red Hair, 1966 oil on board, 150 x 150 cms signed lower left, inscribed with artist’s name verso Exhibited 1st Edinburgh Open Exhibition, Richard Demarco Gallery, Edinburgh, 1967, cat. 41; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 5 Provenance The Richard Demarco Gallery picture rental scheme Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 11
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10 Woman with a Terrapin, c.1966 oil on board, 120 x 120cm signed lower right Exhibited 1st Edinburgh Open Exhibition, Richard Demarco Gallery, Edinburgh, 1967, cat. 42; Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 9
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11 The Gardners, 1967 oil on board, 100 x 95 cms signed and dated upper left Exhibited Douthwaite - Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow and Peacock Printmakers, Aberdeen, 1988; Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 7 Illustrated Douglas Hall and Cordelia Oliver, Douthwaite – Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow, 1988, p.15; Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 53
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12 Yellow Nude (Woman One), 1968 oil on canvas, 121 x 121 cms signed upper right Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 54
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Pat Douthwaite, c.1978
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1970s
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13 Listen to Me, 1970 oil on canvas, 150 x 120 cms signed and dated upper left Exhibited Pat Douthwaite – Paintings and Works on Paper, The Scottish Gallery, Edinburgh, 2011 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 18
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14 Skeleton with a Baby, 1971 [Sexy Skeleton Series] oil on canvas, 158.5 x 111 cms signed and dated lower left Exhibited Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 9 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 22
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15 Large Head Against Orange Background, 1972 oil on canvas, 150 x 120 cms signed and dated upper right
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16 Yellow Hair, 1973 oil on canvas, 140 x 142.5 cms signed lower left, signed and dated verso Exhibited Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 12 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 57
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17 Jason in Flight, 1976 (Amy Johnson Series) oil on canvas, 120 x 120 cms signed and dated upper right Exhibited Amy Johnson aviator, Pat Douthwaite, The Scottish Gallery, Edinburgh, 1977, cat. 10; Douthwaite - Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow and Peacock Printmakers, Aberdeen, 1988, Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, 2005, cat. 14; Pat Douthwaite – Paintings and Works on Paper, The Scottish Gallery, 2011 Illustrated Douglas Hall and Cordelia Oliver, Douthwaite – Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow, 1988, p.10; Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 59 On the fifth of May 1930, Amy Johnson set out in her de Havilland Gypsy Moth G-AAAH which she called Jason on her epic solo flight to Australia. The painting depicts the aircraft in flight against the dun coloured, featureless landscape which might be the artist’s idea of the Australian Outback. The plane’s number is writ large in the sky, like a cry of danger or sheer joy, the essence of the spirit of adventure which Douthwaite equated directly with her own actions as a painter.
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18 Lord Wakefield, 1977 charcoal, 75 x 55 cms signed and dated upper right, titled lower left Exhibited Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 7 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 60 The only possible link we can find between Douthwaite and Lord Wakefield is historical. The Castrol Oil Company, founded by Lord Wakefield (1859-1941) helped to fund Amy Johnson’s solo flying career which culminated with her journey to Australia in 1930 and Douthwaite, fascinated by all aspects of her life as she prepared her Amy Johnson exhibition in 1977, must have made an image of the industrialist patron.
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19 Toby and Cat, 1978 pastel, 73.5 x 53 cms signed and dated upper left Exhibited Pat Douthwaite: An Uncompromising Vision, Pallant House Gallery, Chichester, 2012-2013; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 8 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 62 The cool presence of her eighteen year old son Toby, in square shades and long blond hair, is affectionate and touching. Douthwaite must have seen in her son her own early likeness but the portrait is an unmistakable likeness (as her portraits of real people always were) to which she has added the characterful presence of a family cat.
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Pat Douthwaite, c.1980
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1980s, 1990s, 2000s
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20 Woman in a Fur Coat, 1981 oil on canvas, 141 x 143 cms signed and dated upper left Exhibited Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 16 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 65 The female figure is a self-portrait accompanied by a death figure, who seems more like a companion than the grim reaper. Both figures are relaxed, as if observed in a waiting room suffused with a dirty yellow light with a comically bent palm tree lending an exotic presence. Death references occur throughout the artist’s oeuvre but are seldom sinister, more often in the form of animated skeletal players in a pageant of life and death in which both must be present but the living unafraid.
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21 Mr Henry Dooley, 1982 oil on canvas, 100 x 123.5 cms signed and dated lower left Exhibited Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 19 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 67
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letter to Henry Dooley c.1988
Pat and Dooley c.1985
22 Dooley, 1983 pastel, 75 x 54 cms signed, titled and dated upper right Exhibited Pat Douthwaite: An Uncompromising Vision, Pallant House Gallery, Chichester, 2012-2013; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 11
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23 Black Rose for Rodin, 1983 acrylic on canvas, 142.5 x 140 cms signed and dated upper right Exhibited Yorkshire Contemporary Art Group and St Paul’s Gallery, Leeds; Postern Gate Gallery, Hull, 1984-85; Pat Douthwaite Retrospective, The Scottish Gallery, Edinburgh June 2000, cat. 18 Provenance Private Collection, Edinburgh
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24 An Indian Man I, 1985 pastel, 57.5 x 78.5 cms signed and dated upper right Exhibited Pat Douthwaite Retrospective, The Scottish Gallery, Edinburgh June 2000; Pat Douthwaite, The Scottish Gallery at Art London, June 2001; Pat Douthwaite – Paintings and Works on Paper, The Scottish Gallery, Edinburgh, 2011; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 13 “From 1959-1988 Pat Douthwaite travelled widely to North Africa, India, Peru, Venezuela, Europe, U.S.A., Kashmir, Nepal, Pakistan, Ecuador and from 1969 to 1974 she lived part of the time in Majorca with her husband Paul Hogarth. This drawing was presumably created following one of her trips to the Indian subcontinent. In 1986 Douthwaite had an exhibition at the Saddler Gallery, Durham City with the quirky title, Yippee! I went to India.” Simon Martin, 2014
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25 Male Figure, 1987 chalk on paper, 84 x 59.5 cms signed and dated lower left This drawing is one of several similar and is a portrait of Paul Hogarth with his distinctive tufts of hair and round head. Here a thin, frayed cord is tied around his neck, its other end at the top of the sheet suggesting that he has survived a hanging.
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26 Bad Hair Day, c.1988 pastel and collage, 65.5 x 50 cms unsigned Exhibited Pat Douthwaite: An Uncompromising Vision, Pallant House Gallery, Chichester, 2012-2013; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 16 “The critic Cordelia Oliver observed in 1988 that Douthwaite’s work was ‘Female – not feminine – to the core, baring teeth and claws in defence of her offspring (and by that I mean her often highly maligned paintings and drawings) she has made herself almost her sole subject, painting not as she appears in the mirror but, as it were, from the inside out, from painful firsthand knowledge of her physical and psychological makeup, of her essential needs, frustrations, rages and occasional ecstasies.’” Simon Martin, 2014
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27 Bull, (“Large Dog�), 1988 pastel, 76.5 x 51.5 cms signed and dated upper right Exhibited Pat Douthwaite Retrospective, The Scottish Gallery, Edinburgh, June 2000; Pat Douthwaite, The Scottish Gallery at Art London, June 2001; Pat Douthwaite: An Uncompromising Vision, Pallant House Gallery, Chichester, 2012-2013; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 14
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28 Whitby Yacht, 1990 pastel, 69 x 48 cms signed, titled and dated upper right Exhibited Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 18 Whitby Yacht seems an unlikely subject for Douthwaite but as with so much that she drew and painted the origin was in real observation while the image is appropriated, becoming entirely her own, exploited for her own comic, decorative or tragic-comic purpose. Whitby was also one of Pat’s many temporary addresses, so this makes for a brief memento of her stay there.
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29 Stripper Cockerel, 1990 charcoal and pastel, 82 x 58 cms signed, dated and titled lower left Exhibited Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 28
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30 Italian Cat and Dead Bird, 1994 pastel, 50 x 70 cms signed, titled and dated upper right; pastel drawing verso Exhibited Pat Douthwaite: An Uncompromising Vision, Pallant House Gallery, Chichester, 2012-2013; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 20 From her 1979 catalogue Egyptian Queen – Drawings of Cats: “Those who have become acquainted with Pat Douthwaite’s often macabre subject matter, described in a distorted and expressionist manner might be surprised to find that she has recently become obsessed by that most domestic of animals, the cat. But in her hands the creature is devoid of any tameness – a bizarre and unsettling presence.”
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31 Big Mother, 1994 lithograph, 48 x 38 cms, edition 19 of 60 signed and dated lower right Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 78 This rare lithograph was produced for the Child Psychotherapy Trust in a simple, elegant design depicting a reassuring female presence.
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32 In a Gwen John Hat, 1995 watercolour, 76 x 57 cms signed and dated lower left Exhibited Pat Douthwaite – Works on Paper, 1993-95, The Scottish Gallery, Edinburgh, 1995, cat. 8; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 36 Illustrated Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 80 Provenance Private collection, Edinburgh
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33 Lady and Green Gloves, 1995 watercolour, 76 x 56 cms signed ‘Pat Hogarth’ and dated upper left Exhibited Pat Douthwaite – Works on Paper, 1993-95, The Scottish Gallery, Edinburgh, 1995, cat. 3
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34 Orcadian Landscape, 1999 watercolour, 61 x 46 cms signed and dated lower right The artist made several watercolours of a striated Orkney, land and sky, some with birds, all deeply evocative of place and true to the moment.
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35 Albino Peacocks from Eskdalemuir, 2000 oil on canvas, 180 x 120 cms signed and dated upper right Illustrated Guy Peploe, Pat Douthwaite, Samson and Co. 2016, plate 36 Provenance Private Collection, Edinburgh
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36 Albino Peacocks from Eskdalemuir II, 2000 oil on canvas, 180 x 120 cms signed and dated upper right Illustrated Guy Peploe, Pat Douthwaite, Samson and Co. 2016, plate 37 Provenance Private Collection, Edinburgh
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PAT DOUTHWAITE 1934-2002 1934
1944 1947
1958
1960
Born, Glasgow. Scots mother, half English/German father. From the age of four, possibly earlier, Pat showed no interest in her sibling brothers. Her mother had been a hat designer prior to her marriage and Pat liked to fantasise with her mother’s hat veils/feathers/ jewellery and high pointed shredded pink silk dancing shoes and face make-up. She only played this particular game of ‘child theatre’ wandering about the long garden dressed in old gauze curtains wheeling a doll’s pram – no interest in dolls or toys as such only wheeling the old kinder machine with kittens in it, tucked in with old blankets. School. Slapped for being left-handed thus refused to learn to write. Began to study movement, mime and modern dance with Margaret Morris, whose husband, J. D. Fergusson, encouraged her to paint. Apart from this important influence she was self-taught. During this period she won the Phyllis Calvert Award for Mime which allowed her to study full-time with Margaret Morris. Finally performing with Ted Shawn at Jacob’s Pillow, Mass., U.S.A., in 1956. Went to live in Suffolk with a group of painters, including the Scots expatriates Colquhoun and MacBryde, and William Crozier. She met Paul Hogarth her future husband. Life in Suffolk was lived on the edge of poverty supported with a stipend of £2 a week and she and the others experimented with amphetamine drug Preludin – later banned. Married Paul Hogarth and had son, Toby. Spent time in Cambridge and Soho.
1959-88
1974
1975-76 1975
1976 1977 1985 1999-2002 2002
Travelled widely, to North Africa, India, Peru, Venezuela, Poland, East Germany, Romania, Hungary, Bulgaria, France, Italy, U.S.A., Kashmir, Nepal, Pakistan, Ecuador. From 1969 lived part of the time in Majorca. Hope Scott Award for Lithography. A German sponsor, Axel Ball, gave her the freedom to live and work in Germany. There she met Professor Doctor Werner Schmalenbach. He introduced her to Brockstedt and Galerie Levi in Hamburg and she lived there for one year. Scottish Arts Council Awards. Created multi-media performance work, Inanna, with the financial support of the SAC and the Gulbenkian Foundation. Inanna was performed at the Traverse Theatre during the 1975 Edinburgh International Festival and later at Third Eye Centre, Glasgow. Royal College of Art retrospective. Amy Johnston exhibition, The Scottish Gallery. Took part in TV documentary, The Lunch Party BBC 1 with Liz Lochead. Lived in various properties in the south west of Scotland including time at the Samye Ling Tibetan Centre, Eskdalemuir. Died, Broughty Ferry.
Selected Group Shows Ten Young Painters, Redfern Gallery Fantasy and Figuration, ICA: Spectrum, SAC and ACGB New Tendencies, Richard Demarco Gallery New Directions, Richard Demarco Gallery Axiom Gallery Dealers’ Choice, Pollack Gallery, Toronto Seven Scottish Artists, Third Eye Centre Painters in Parallel, Scottish Arts Council 3 Print Workshops, Fruitmarket Gallery, Edinburgh Contemporary Painting, Maine, U.S.A. Gimpel Fils TVSW Tour of Britain Freidus Gallery, New York Galerie d’Art, Chicago, U.S.A. The Athena Award Exhibition, Hayward Gallery, London Norma Tait and Friends, Drumcroon, Wigan The Scottish Gallery Corrymella Scott, Newcastle
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Solo Exhibitions
Public Collections Include
1958 1963 1965 1966 1967 1968 1972-73
Aberdeen Art Gallery, Aberdeen Scottish National Gallery of Modern Art, Edinburgh City Art Centre, Edinburgh Ferens Art Gallery, Hull Leeds Education Authority, Leeds Victoria & Albert Museum, London Paisley Museum and Art Gallery University of Stirling University of St. Andrews Wakefield Museum Museum of Contemporary Art, Warsaw, Poland
57 Gallery, Edinburgh Grabowski Gallery, London ICA, London Clare College, Cambridge Mary Queen of Scots, Richard Demarco Gallery Love Pictures, Richard Demarco Gallery Charles Manson Trial and American Women Bandits, University of Stirling and Richard Demarco Gallery at the Edinburgh Festival 1972 Serpentine Gallery, London 1973 University of St. Andrews Sexy Skeletons, Hanover Gallery, London Salome in Drag, Richard Demarco Gallery and Motiv Gallery, London 1974 New German Drawings, Scottish Arts Council, Edinburgh 1975 Inanna, multi-media performance work at Traverse Theatre, Edinburgh and Third Eye Centre, Glasgow 1977 Amy Johnson, Aviator, The Scottish Gallery, Edinburgh and Aberbach Gallery, London 1979 Biomorphic Drawings and Ezra Pound ‘Cantos’, 369 Gallery, Edinburgh Biomorphic Drawings, Zenith Gallery, Washington D.C. 1979 Egyptian Queen – Drawings of Cats, 369 Gallery, Edinburgh 1980 Paintings and Drawings 1972-79, Talbot Rice Arts Centre, Edinburgh University and subsequent SAC tour to Dundee, Stirling, Orkney, Hull, Leeds 1982 Edinburgh Festival: Worshipped Women, 26 drawings with introduction by Robert Graves, 369 Gallery, Edinburgh 1982-83 Retrospective at Royal College of Art, London and subsequent tour ending at York University 1983-84 12 paintings and 15 drawings, St. Paul’s Gallery, Leeds and the Postergate, Hull 1985 Indian and Polish Pictures, Richard Demarco Gallery at Edinburgh Festival 1986 Yippee! I went to India, Saddler Gallery, Durham City 1988 Douthwaite: Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow, and subsequent tour 1990 Guest Exhibitor, Royal Scottish Academy Art East, Kings Lynn 1991 William Jackson Gallery, London 1993 Recent Work, The Scottish Gallery, Edinburgh 1995 New Works on Paper, The Scottish Gallery, Edinburgh 1998 Small Works on Paper, The Scottish Gallery, Edinburgh 2000 Retrospective 1960-2000, The Scottish Gallery, Edinburgh 2005 A Memorial Exhibition, The Scottish Gallery, Edinburgh 2011 Retrospective – Paintings & Works on Paper, The Scottish Gallery, Edinburgh 2012-13 Pat Douthwaite: An Uncompromising Vision, Pallant House Gallery, Chichester 2014 Pat Douthwaite: An Uncompromising Vision, The Scottish Gallery, Edinburgh 2016 Pat Douthwaite: The Outsider, The Scottish Gallery, Edinburgh
Also in many private collections in the U.K., Europe and U.S.A.
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Published by The Scottish Gallery to coincide with the exhibition Pat Douthwaite: The Outsider 1 – 25 June 2016 Exhibition can be viewed online at www.scottish-gallery.co.uk/patdouthwaite ISBN: 978-1-910267-37-0 Our thanks to Toby Hogarth, Simon Martin and Alice Strang who contributed to the catalogue. Designed by www.kennethgray.co.uk Photography by John McKenzie Printed by J Thomson Colour Printers 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 copyright holders and of the publishers.
16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL mail@scottish-gallery.co.uk www.scottish-gallery.co.uk Right: Woman with Red Hair, 1966, oil on board, 150 x 150 cms (cat. 9) (detail) Back cover: Albino Peacocks from Eskdalemuir II, 2000, oil on canvas, 180 x 120 cms (cat. 36) (detail)
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