Victoria Crowe
Victoria Crowe
1 – 30 August 2014
introduction The Scottish Gallery is delighted and proud to present an exhibition of new work by Victoria Crowe for this year’s Edinburgh Festival. It contains an astonishing body of work in a variety of media and techniques, references to the arcane, the natural world and art history all contained in her particular, magical weave. Her pictures seem unforced, as if revealed so that each can chime with our own visual understanding. The distinct loci of studios: Venice, Edinburgh and West Linton, does not divide the exhibition into groups but rather each might provide an atmosphere, like the light true to a place at a particular time of day, which is nurtured as the picture develops its thematic complexity. Since her exhibition Ti Sorprendo in December 2012, Crowe has much to report beyond her dedication in front of the easel. Her portrait of Peter Higgs now graces the Royal Society of Edinburgh; her monumental tapestry, Large Tree Group and associated material is touring in Australia before it returns to be shown in The Fleming Collection in London, Inverness Museum and its final home in The National Museums of Scotland. She has also won a competitive commission in London which won’t be fully realised until 2016. What seems assured today, on the eve of another triumphant solo exhibition, is that her star continues to burn bright in the firmament and that painting does not have to be ironic in order to be placed centre stage in the contemporary art world. GUY PEPLOE
Ferragosto, La Suvera (detail) (cat. 28) oil on linen 71 x 86 cms 3
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Victoria Crowe Victoria Crowe’s current pictures concern themselves with mirrors and windows and the finest gradations of changing and refracted light. Three particular windows frame her vision. There is a north-facing, luminous window in Edinburgh, looking out through mature city trees over the airy vista east of the Salisbury Crags. A country window in the Scottish Borders faces out and upwards to trees, hillside, upland horizon. Then there is a high apartment window on the Giudecca in Venice, looking across the broad waters to the Zattere, with the dome of the Salute magnificent on the skyline. One of the most celebrated urban views in southern Europe contrasts with a prospect of quiet and unfrequented Scottish countryside, and the unique citycentre bare hills of Edinburgh provide Victoria Crowe with a paradoxical third term. All of these windows are attended by reflective surfaces: mirrors, glass doors and translucent curtains sometimes enriched with vestigal, infinitely subtly rendered, glimmerings of lamplight in window-glass or curtain fabric. The Venetian paintings play with light and reflection in the broad Giudecca canal, as well as with real Venetian mirrors juxtaposed with the prospect through the window. Many of the Scottish paintings play with an ambiguity of the last of the light, of the very end of deep-blue evening, when any increase of the light level on the painter’s side of the window-pane would cause the glass through which Victoria Crowe sees her winter trees and her dusk-shadows on snow, to take on the function of a black mirror, reflecting only the room inside. All of these paintings could be said to extend aspects of the traditions of European painting: many of the richly-layered Venetian paintings develop further the idea of the city’s accreted grandeurs, as depicted in John Singer Sargent’s An Interior in Venice (1898) in the Royal Academy of Arts in London, with its rich evocation of the density of past decoration to form a sumptuous background to elegant contemporary lives. Similarly, the still northern twilights continue a northern European tradition of dusk paintings and nocturnes, a tradition which began in the early nineteenth century with Friedrich’s and Cotman’s experiments with painting dawn and nightfall – the far ends of the day. Like the interior nocturnes of the Danish painter Vilhelm Hammershøi, these paintings are silent, intensely still with a meditated quietness, depicting the very end of the twilight. The Venetian paintings are ingenious in their depictions of familiar prospects, endlessly inventive in their considered framing of the great view of the skyline. Two Reflections, Watery City (cat. 37) places the daytime view, drawn in russet Shadow and Fire (detail) (cat. 11) tones which evoke both the dry warmth of a Mediterranean summer and the sanguine-coloured inks and chalks used by artists in the seventeenth and oil on linen eighteenth centuries, between two mirrors or translucent curtains which reverse 101.5 x 76.2 cms 5
the same view as seen at evening in rich grey and lemon yellow, with the first pinpricks of lit lamposts sending a shimmer of reflected light across the water. In Twilight, Venice (cat. 32) the predominant colour has changed to a lustrous blue – brightness lingering in the southern air – and the skyline is seen through a window from a sumptuous interior. The panel below the window holds memories of Renaissance paintings, inscriptions, frescoes, gold-shot textiles; the panel to the right offers a subtle play of reflections – moonlight on dark water mirrored in a glass door which also catches fragments of the brilliant colour of the summer sky at noon. These framing panels are at once a visual history of Venice and the history of one Venetian summer day, from meridian to night. Layered Silver (cat. 18) is in every sense a Venetian mirror picture. Two mirror panels stand on either side of a bay tree seen against night water with trails of light: on the left is a vertical assemblage of reflections of the arts of the past – a Fornasetti plate, gold mosaic, a few bars of music. To the right is a virtuoso rendering of the tarnished and worn silvering of the faceted glass, again catching echoes from the past – a portrait in the style of the Italian fifteenth century, a sketch of domes and towers with memories of the eighteenth century topographers. South and north come together in several paintings – the visual conceit of Ferragosto, La Suvera (cat. 28) is to bring two gardens together. The painting is saturated in heat, in reds and oranges and the dark silhouettes of palm and ilex leaves. But in the foreground is a frieze of Scottish August flowers, chiefly the orange and fire-red crocosmia whose blooming is an invariable sign that the northern summer is drawing to its end, and whose colours form a bridge between north and south. Similarly, Drawing In (cat. 2) constitutes a meditation on the riches of southern Europe considered late in the evening in the quietness of the northern winter. Outside the window a stark tree is vanishing into depths of twilight, inside there is a composition of European memories, as if on a Fortuny curtain touched with gold – the shadow of a Modigliani portrait, of a Renaissance profile. In Victoria Crowe’s Edinburgh studio a great mirror hangs opposite the northfacing windows, and this gives the clue to her haunting work Mirrored Evening (cat. 6). The city trees are seen through the window in the still-bright blue of an early winter dusk, but they are balanced to the left by the same forms of branches reversed in yellow and white wash of the morning light, almost as though the mirror has held that early reflection throughout the short day. Another winter daylight is captured in Snow on Snow (cat. 3) – bare trees in low winter light over snow – a minimal landscape rendered with such attention as to bring out the finest gradations of shadow, the distant pencilling of the advancing mist, the gradations of refracted light on the snow banks. The picture is at once both beautiful and lonely, bearing intense witness to a place and time often disregarded. Similarly Frozen Moment (cat. 12) is attentive to the most transient light of the winter evening: the moon has risen over distant hills, a hare runs through a cold garden where the snow is shaded blue by the last of the light and the sky is already dimming to black. Considered Silence (cat. 1) shows black trees diminishing into late evening beyond the window, with the reflecting shadow of a lily inside. There is one patch and scatter of gold on the curtain, light coming from behind the painter and the viewer. This serves as a reminder 6
of the lateness of the dusk – how vulnerable the world outside is to the lighting of one lamp in the house. Finally, Catching the Light, Midwinter (cat. 10) shows the sheer transience of December sunlight – a few rays from the setting sun touch the snow and the foreground trees with short-lived rust and ochre, when the distance is already rich with the darkening blue of nightfall. These paintings of northern dusk are fascinating, working as they do at the extreme of the transition from ‘nautical twilight’ to ‘astronomical twilight’, at the last moment in the advance of the winter darkness when the infinitely-adaptable human eye can still see clearly what a camera would capture only with difficulty. These paintings are not only beautiful in themselves with their scrupulous recording of branches seen against the profundity of the sky, they have also a specific poetry which comes from their vulnerability. They record the last moment when the human eye can see the fading world in colour, before the monochrome of nightvision and the fading of sight into darkness take over. Fragile as Venice glass, this transient cobweb of branches, On the silvered outskirts of Europe, at the cobalt frontiers of day, Holding one moment of snow, before the day passes to dark. Peter Davidson
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1 Considered Silence oil on linen 101.5 x 91.5 cms 8
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2 Drawing In oil on board 51 x 66 cms 10
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3 Snow on Snow oil and mixed media on conservation board 112 x 75 cms 12
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4 Echo Trace oil on linen 101.5 x 127 cms 14
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5 From Dusk To Wakening oil on linen 127 x 127 cms 16
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6 Mirrored Evening oil on board 76.2 x 71 cms 18
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7 Hedge, Winter Afternoon oil on board 25.5 x 30.5 cms 20
8 Frost Tree ink and mixed media on handmade paper 18 x 22 cms 21
9 Twilight oil on linen 76 x 72 cms 22
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10 Catching the Light, Midwinter oil on linen 71 x 76.2 cms 24
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11 Shadow and Fire oil on linen 101.5 x 76.2 cms 26
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12 Frozen Moment oil on linen 91.5 x 101.5 cms 28
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13 Hedge and Hare pencil and oil on paper 26 x 19 cms 30
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14 Moonlit oil on board 51 x 61 cms 33
15 Green Gladioli oil on board 91 x 71 cms 34
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16 After and Before (Lily) oil on paper 72 x 54 cms 36
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17 Ordered Reflection oil on linen 101.5 x 127 cms 38
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18 Layered Silver oil on linen 76.2 x 101.5 cms 40
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19 Mercury Mirror mixed media on paper 34 x 43 cms 42
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20 Quince and Hydrangea oil on board 51 x 66 cms 44
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21 Tree Bank mixed media on handmade paper 54.5 x 80 cms 46
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22 Last Evening at the Winter House mixed media on handmade paper 57 x 43 cms 48
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23 Ice and Fire oil on board 38 x 27 cms 50
24 Glowing Tree, Petra oil on board 46 x 23 cms 51
25 Interior with Sunlit Mirror oil on linen 76 x 102 cms 52
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26 Flora – Pompeii mixed media on conservation board 63.5 x 85 cms 54
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27 Shining Reflection ink and mixed media on handmade paper 52 x 56 cms 56
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28 Ferragosto, La Suvera oil on linen 71 x 86 cms 58
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29 Summer Night, Italy ink and mixed media on conservation board 46 x 53 cms 60
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30 August Night with Crocosmia oil on board 25 x 36 cms 62
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31 Drawing of Crocosmia Lucifer pen and ink on paper 35 x 49.5 cms 64
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32 Twilight, Venice oil on linen 114 x 102 cms 66
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33 Quiet Rialto mixed media on conservation board 80 x 119 cms 68
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34 Tramonto oil on linen 71 x 91.5 cms 70
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35 Thoughts on the City mixed media on conservation board 53 x 79 cms 72
36 Skyline, Venice mixed media on handmade paper 20 x 29 cms 73
37 Two Reflections, Watery City mixed media on conservation board 57 x 84 cms 74
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Victoria Crowe
OBE DHC FRSE MA(RCA) RSA RSW 1945 1961-65 1965-68 1968 1968-98 1969, 75 1973 1981 1982 1987 1988 1991 1992
1994 1997
2000 2002 2004-7 2004 2008 2009
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Born Kingston-upon-Thames, Surrey Kingston School of Art Royal College of Art, London David Murray Landscape Scholarship Lecturer in Drawing & Painting, Edinburgh College of Art Scottish Arts Council Bursaries Anne Redpath Award Glasgow Herald Painting Competition Prize winner Scottish Arts Council Printmaking Bursary Elected member of The Royal Scottish Society of Painters in Watercolour Elected Associate of the Royal Scottish Academy Winner of the Daler/Rowney Prize for Watercolour, Royal Academy, London Hunting Group Major Award Winner Elected Associate of the Royal Watercolour Society (RWS) Major Award winner (Chris Beetles Prize), RWS Open Exhibition, London Invited by Artists for Nature Foundation, funded by WWF, to join a group of International artists working on a conservation project in Poland Sir William Gillies Bequest, Royal Scottish Academy, for travel and study in Italy Invited by ANF to work on a conservation project in the Extremadura, Spain Exchange portrait commission with the NPGs of Scotland and Denmark to paint the Danish Resistance leader, Ole Lippmann, for the 20th Century Collection of portraits at Frederiksborg Castle, Copenhagen Invited by Glasgow Museums and Art Galleries to take part in the Tiger, Tiger project at Bandhavgarh National Park, India Invited artist for shortlist of Jesus 2000 commission, Glasgow Museum and Art Gallery Benton Humfries Award, Discerning Eye, Mall Galleries, London Senior Visiting Scholar, St Catherine‘s College, Cambridge University Sir William Gillies Award, Royal Scottish Academy, for travel and research Awarded OBE for Services to Art Commission of tapestry, Two Views, Dovecot tapestry company, Edinburgh Awarded Doctor Honoris Causa (DHC) University of Aberdeen
2010 2011/12
2012 2013/14/15
Elected Fellow of The Royal Society of Edinburgh Commission for a major suite of paintings for a redesigned period house in the Scottish Borders Commission of tapestry, Large Tree Group, Dovecot Studios, Edinburgh Begins showing with Browse and Darby, London Deputy President of The Royal Scottish Academy Involved with two major public art commissions, London The Artist lives and works in the Scottish Borders and Venice
Selected Solo Exhibitions 1969 1970 1971 1973 1975 1977 1982 1983 1985 1986 1988 1989 1991 1993 1994 1995
1997
1998 1999
Waterhouse Gallery, London The Scottish Gallery (Aitken Dott), Edinburgh Waterhouse Gallery, London The Scottish Gallery (Aitken Dott), Edinburgh Lantern Gallery, Manchester Loomshop Gallery, Lower Largo The Scottish Gallery (Aitken Dott), Edinburgh The Scottish Gallery (Aitken Dott), Edinburgh Thackeray Gallery, London Thackeray Gallery, London Mercury Gallery, Edinburgh Abbot Hall, Kendal From Carlops to Corinth, The Fine Art Society, Edinburgh and Glasgow Thackeray Gallery, London Border Connections, The Bruton Gallery, Somerset Thackeray Gallery, London The Bruton Gallery, Bath Ancrum Gallery, Borders Festival Thackeray Gallery, London (catalogue with introduction by Mary Taubman) The Scottish Gallery, Edinburgh (catalogue with introduction by Dr Duncan Thomson, ISBN 18726941996) Corrymella Scott Gallery, Newcastle upon Tyne, (catalogue with introduction by Mary Sara, ISBN 0-9525985-3-1) The Scottish Gallery, Edinburgh Accomplished Journeys, Bruton Gallery, Leeds, (catalogue with introduction by Derek Hyatt) Thackeray Gallery, London, (catalogue with introduction by Clare Henry)
2000
2001
2001/2002
2002 2003 2004
2005
2006 2007
2008 2009
2010
Cambridge Contemporary Art A Shepherd‘s Life, Paintings of Jenny Armstrong by Victoria Crowe, Scottish National Portrait Gallery, Edinburgh, Exhibition curated by the SNPG, with accompanying book, A Shepherd’s Life, Paintings of Jenny Armstrong by Victoria Crowe, Julie Lawson and Mary Taubman, National Galleries of Scotland, ISBN 1 903278 02 3 A Shepherd’s Life, related works, The Scottish Gallery, Edinburgh Victoria Crowe New Works, Edinburgh Festival Exhibition, The Scottish Gallery, Edinburgh (catalogue with introduction by Iain Gale) Thackeray Gallery, London A Shepherd’s Life, touring, Mercer Art Gallery, Harrogate; Duff House, Aberdeenshire; Inverness Museum and Art Gallery; Highland Folk Museum; Swanston Gallery, Thurso; St Fergus Gallery, Wick; Hatton Art Gallery, Newcastle upon Tyne University Aldeburgh Festival Exhibition, Gallery 44 (Thackeray Gallery) Bohun Gallery, Henley-on-Thames Alchemy, Drumcroon, Wigan Education Authority Arts Centre Thackeray Gallery, London Italian Sketchbook, Works on Paper, Thackeray Gallery, London The Scottish Gallery, Edinburgh (catalogue with introduction by Lynne Green) ISBN 1-905146-00-0 On Reflection, Thackeray Gallery, London. Catalogue published by Thackeray Gallery ISBN 0-9547006-8-6 Works on Paper – Landscapes from Italy and Scotland, The Scottish Gallery, Edinburgh Reflections on Venice, Bohun Gallery, Henley-on-Thames Thackeray Gallery, London Plant Memory, Royal Scottish Academy, Edinburgh (catalogue with introduction by Professor Bill Scott and commentary by Professor David Ingram ISBN 978-0-905783-11-6) Victoria Crowe, Recent Work, The Scottish Gallery, Edinburgh Overview, The Fine Art Society, London, catalogue introduction by Patrick Bourne. A Shepherd’s Life, Paintings of Jenny Armstrong by Victoria Crowe, The Fleming Collection, London. Catalogue with introduction by John Leighton and James Holloway, ISBN 190378 02 3 Reflection, Edinburgh Festival Exhibition, The Scottish Gallery, Edinburgh (catalogue with introduction by Duncan Macmillan ISBN 978-1-905146-43-7) Collected Journeys, The Bohun Gallery, Henleyon-Thames
2011 2012
2013
2014
2014/15
Plant Memory, touring Highlands and Islands Plant Memory at Town House Art Gallery, Aberdeen University Victoria Crowe, New Work, Browse and Darby, Ltd, London, September/October Ti Sorprendo, The Scottish Gallery, Edinburgh, December (catalogue with introduction by Guy Peploe, ISBN 978-1-905146-71-0) Images of Grimes, Aldeburgh Festival Exhibition, Gallery 44 A Celebration: 40 Years of Painting, Bohun Gallery, Henley-on-Thames. Fleece To Fibre: The Making of The Large Tree Group Tapestry, Dovecot Studios, Edinburgh, Festival exhibition, August/September Real and Reflected, Edinburgh Festival exhibition, The Scottish Gallery, Edinburgh, August (catalogue with essay by Peter Davidson, ISBN 978-1-905146-99-4) Permanence and Fragility: Paintings and Drawings by Victoria Crowe, Ruskin Library, Lancaster University, Oct-Dec 2014 Fleece to Fibre, the weaving of Large Tree Group Tapestry, touring Victoria Tapestry Studio, Melbourne, Australia. Inverness Art Gallery and Museum and The Fleming Collection Gallery, London
Selected Group Exhibitions 1969 1979 1980 1981
1983 1984 1984/85
1985
Richard Demarco Gallery, Edinburgh The Plant, Scottish Arts Council Touring Exhibition Interiors, Touring Exhibition, Lincolnshire, Humberside Artist and Teacher, The Fine Art Society, Edinburgh and Glasgow Scottish Festival Week, Ridderkerk, Holland with The Scottish Gallery Contemporary Art from Scotland, Touring Exhibition, catalogue published by The Scottish Gallery The Stormy Blast, MacRobert Art Centre, Stirling Etching and Other Intaglio Techniques, Scottish Arts Council Touring Exhibition Different Kinds of Good Weather, Scottish Arts Council Touring Exhibition Portrait 84, National Portrait Gallery, London Contemporary Scottish Drawing, The Fine Art Society Light from the Window, National Galleries of Scotland Portraits on Paper, Scottish Arts Council Touring Exhibition, catalogue by James Holloway Dublin/Edinburgh, Festival, Exhibition, Edinburgh College of Art 77
1988 Hunting Group Exhibition, Winners’ Selection 1988, 90, 93 Sunday Times/Singer Friedlander Watercolour Exhibition 1989, 91, 93, 97 The Morrison Scottish Portrait Award Exhibition, Royal Scottish Academy, Edinburgh 1991 Scottish Art in the 20th Century, RWEA Bristol, (catalogue ISBN 1 872971 21 0) International Watercolour Exhibition with the 1992 RWS, Seville, Bilbao & Barcelona 150th Anniversary Exhibition, The Scottish Gallery 1993 Portrait of a Living Marsh, Touring Exhibition opening in Zeist, Netherlands and touring Europe and USA, Portrait of a Living Marsh, WWF, ISBN 9066110538 The Edinburgh School, The Scottish Gallery 1994 Witness of Existence, Obala Gallery, Sarajevo, catalogue published by Kingston University Press 1995 Costillo de Soutomaior Pontevidia, Spain Exhibition of work by Edinburgh College of Art Painting School staff Artists for Nature in Extremadura, Zeist, Netherlands. Toured Europe and USA until 1997, (book, ISBN 00-9526236-0-9) 1996 Scottish Print Open – Glasgow Print Studio, and Edinburgh Printmakers (catalogue) The Discerning Eye, (Invited Artist), Mall Galleries, London 1998 Galerie Susanne Hojriis, Copenhagen 500 Years of Scottish Portraiture, The National History Museum, Frederiksborg, Denmark 1999 Scotland’s Art, City Art Centre, Edinburgh Festival Exhibition The Flower Show: Flowers in Art in the 20th Century, Harewood House The Flower Show, Jane Sellars ISBN 1 899928 2000 Wild Tigers of Bandhavgarh, Burrell Collection, Glasgow Jesus 2000, Glasgow Museum of Modern Art Northern Highlights, Bruton Gallery in Cork Street, London (catalogue) Marie R., Bourne Fine Art, Edinburgh 2000, 02, 03 The Discerning Eye, (Invited Artist), Mall Galleries,London 2001 Narcissus, 20th Century Self Portraits, SNPG Mirror, Mirror, Self Portraits by Women Artists, NPG, London, touring, (catalogue ISBN 1855-14-3232) 2003 30 years of the Bohun Gallery, Henley-onThames (catalogue ISBN 0-9507212-3-9) 2004 Modern Women, Scottish National Portrait Gallery, Edinburgh 2005 The Healing Touch, Scottish National Portrait Gallery, Edinburgh Art London, The Scottish Gallery Festival Connections, Royal Scottish Academy, Edinburgh 78
2006
2007
2010
Divided Selves, The Scottish Self-Portrait from the 17th Century to the present, Talbot Rice Gallery, Edinburgh and The Fleming Collection, London (catalogue, Bill Hare and Polly Bielecka, ISBN 0-9545137-3-8) Home and Garden, Geffrye Museum, London, October 2007 – February 2008 (catalogue, edited by David Dewing, ISBN 5 037701 000065) Curious Eye, Royal Scottish Academy, Edinburgh Edinburgh College of Art centenary exhibition, City Art Centre, Edinburgh Portrait of a Gallery, The Scottish Gallery (catalogue with introduction by Guy Peploe ISBN 978-1-905146-42-0)
Portraits include 1982 1985 1986
1987 1988 1988/89 1989
1990 1990/91 1991 1992 1994 1996
Dr Winifred Rushforth, in the collection of the Scottish National Portrait Gallery, Edinburgh Dr Winifred Rushforth, in the collection of the City Art Centre, Edinburgh Ronald Stevenson, in the collection of the Scottish National Portrait Gallery, Edinburgh R.D. Laing, commissioned by the Scottish National Portrait Gallery, Edinburgh The Very Reverend Professor John McIntyre, commissioned by New College, Edinburgh University Kathleen Raine, in the collection of the National Portrait Gallery, London Dame Janet Vaughan, in the collection of the National Portrait Gallery, London Tam Dalyell MP, commissioned by West Lothian Council Lord Provost, Tom Morgan, commissioned by Edinburgh District Council Mr and Mrs Tam Dalyell MP, commissioned for ‘The Binns’ Principal Tom Johnston, commissioned by Heriot Watt University The Earl of Wemyss and March, KT, commissioned by the National Trust for Scotland. Professor Michael Oliver, commissioned by the Royal College of Physicians of Edinburgh Dr Jean Keeling, commissioned by colleagues Principal George McNicol, commissioned by Aberdeen University Professor Bill Hayes, The President, St. John’s College, Oxford, commissioned by the College. Professor Geoff Chisholm, commissioned by the Royal College of Surgeons, Edinburgh Professor Piers Mackesy, Historian, commissioned for the family Lady Emma Tennant, commissioned by the Marquis of Hartington
1997
1998 2000 2002 2003 2006 2008 2009 2013
Harry Tatton, commissioned by The Incorporation of Goldsmiths of the City of Edinburgh, The Assay Office, Edinburgh Callum Macdonald, Scottish Literary Publisher, commissioned by the Scottish National Portrait Gallery, Edinburgh Graham Crowden, Actor, gifted to the Scottish National Portrait Gallery Piers Ben-Gough, Her Majesty’s Representative at Ascot, commissioned by the racecourse authority Exchange Commission between Scottish National Portrait Gallery, Edinburgh and National Portrait Gallery, Frederiksborg, Copenhagen. Selected Scottish artist to paint Ole Lippmann, head of S.O.E., Denmark Sir Peter Main, commissioned by Boots Mary James, commissioned by the Governors of St. Leonard’s School James Wright, Vice-Chancellor, University of Newcastle, commissioned by the University Sir Iain Noble Bt., OBE, commissioned for the family The Hon Roy MacLaren, P.C. commissioned for the family Professor James Petrie, commissioned by the Royal College of Physicians of Edinburgh Professor David Ingram, OBE, commissioned by St Catherine’s College, Cambridge. Thea Musgrave, CBE, Commissioned by the Scottish National Portrait Gallery Sir Menzies Campbell, CBE, QC, MP, commissioned by the Palace of Westminster Principal Dr Brian Lang, FRSE, commissioned by University of St Andrews Principal Sir Muir Russell, KBE, DL, FRSE, commissioned by the University of Glasgow Dr Ann Mathieson, commissioned by the University of Edinburgh The Rt Hon Lord Ranald MacLean QC, commissioned by Lord MacLean Professor Peter Higgs, CH, FRS, FRSE, commissioned by The Royal Society of Edinburgh
Selected Public Collections Bank of Scotland Calderdale Museum and Art Gallery Carnegie Dunfermline Trust Chatsworth House Contemporary Arts Society Cornelian Asset Managers Ltd Danish 20th Century Portrait Collection, Frederiksborg Castle, Copenhagen Department of Neuroscience, University of Edinburgh District Council of Edinburgh District Council of West Lothian
Edinburgh City Art Centre Education Authority of Edinburgh Education Authority of Inner London Fleming-Wyfold Art Foundation The Franklin Trust Glasgow Museums and Art Galleries Harlow New Town Council Highland Council Houses of Parliament Medical School, new Royal Infirmary, Edinburgh Mercantile and General Reinsurance Company McLean Gallery, Greenock National Museums of Scotland National Portrait Gallery, London National Trust for Scotland Nuffield Foundation, Paintings in Hospitals (Scotland) Reader’s Digest Reading Museum and Art Gallery Royal Academy, London Royal Bank of Scotland Royal College of Art, London Royal College of Physicians, Edinburgh Royal College of Surgeons of Edinburgh The Royal Society of Edinburgh Scottish Arts Council Scottish Life Insurance Company Scottish Media Group Scottish National Gallery of Modern Art Scottish National Portrait Gallery Smith Art Gallery, Stirling St. Leonard’s School, St. Andrews The Boots Company Trustee Savings Bank University of Aberdeen University of Cambridge University of Dundee University of Edinburgh University of Glasgow University of Heriot-Watt University of Newcastle University of Oxford University of St Andrews Wigan Education Authority William Bowmore Collection, Australia Worshipful Company of Painter-Stainers
Selected Private Collections HM The Queen HRH The Duke of Edinburgh HRH The Prince of Wales Lady Cawdor Duke of Buccleuch Duke of Devonshire and in further important Private Collections worldwide
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Published by The Scottish Gallery to coincide with the exhibition VICTORIA CROWE: REAL AND REFLECTED 1 – 30 August 2014 Exhibition can be viewed online at www.scottish-gallery.co.uk/realandreflected ISBN: 978-1-905146-99-4 Designed by www.kennethgray.co.uk Photography by Andy Phillipson Printed by J Thomson Colour Printers The Directors of The Scottish Gallery and Victoria Crowe would like to thank Peter Davidson for his insightful and poetic essay. 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 80
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