Still Life (c.1906), City Art Centre, Edinburgh.
Oil on panel, 26.5 x 35 cms.
Literature: Strang, Cumming, Fowle, 'S.J. Peploe', Yale University Press, 2012, plate 3
Throughout his career Peploe indefatigably experimented with still life. Early examples in the genre are often set against dark, indeterminate backgrounds, against which richly coloured flowers, peeled fruit and lustrous metallic objects are thrown into sharp relief. Aside from clear affinities with Dutch still life, many of Peploe’s early examples accord with Manet’s still lifes in their intense saturation of colour and boldly handled shadows, particularly in the use of thick, graphic black lines to outline objects. In a letter to a fellow artist written in 1929, Peploe wrote: ‘there is so much in mere objects, flowers, leaves, jugs, what not – colours, forms relation – I can never see mystery coming to an end.’*
*quoted in Stanley Cursiter, Peploe: an intimate memoir of an artist and his work, Nelson, London, 1947
Image courtesy of www.edinburghmuseums.org.uk/Venues/City-Art-Centre
Still Life: Painter's Materials (1900-1905), Aberdeen Art Gallery.
Oil on canvas, 41 x 51 cms.
Literature: Strang, Cumming, Fowle, 'S.J. Peploe', Yale University Press, 2012, plate 23
Image courtesy of Aberdeen Art Gallery & Museums Collection www.aagm.co.uk
Roses, The Burrell Collection, Glasgow.
Oil on canvas, 51 x 51 cms.
Image courtesy of Glasgow Museums www.glasgowlife.org.uk
Still Life (c.1906-7) The Fitzwilliam Museum, Cambridge.
Oil on panel, 24.5 x 35 cms.
Still Life (c.1906), City Art Centre, Edinburgh.
Oil on panel, 26.5 x 35 cms.
Literature: Strang, Cumming, Fowle, 'S.J. Peploe', Yale University Press, 2012, plate 3
Throughout his career Peploe indefatigably experimented with still life. Early examples in the genre are often set against dark, indeterminate backgrounds, against which richly coloured flowers, peeled fruit and lustrous metallic objects are thrown into sharp relief. Aside from clear affinities with Dutch still life, many of Peploe’s early examples accord with Manet’s still lifes in their intense saturation of colour and boldly handled shadows, particularly in the use of thick, graphic black lines to outline objects. In a letter to a fellow artist written in 1929, Peploe wrote: ‘there is so much in mere objects, flowers, leaves, jugs, what not – colours, forms relation – I can never see mystery coming to an end.’*
*quoted in Stanley Cursiter, Peploe: an intimate memoir of an artist and his work, Nelson, London, 1947
Image courtesy of www.edinburghmuseums.org.uk/Venues/City-Art-Centre
Still Life: Painter's Materials (1900-1905), Aberdeen Art Gallery.
Oil on canvas, 41 x 51 cms.
Literature: Strang, Cumming, Fowle, 'S.J. Peploe', Yale University Press, 2012, plate 23
Image courtesy of Aberdeen Art Gallery & Museums Collection www.aagm.co.uk
Roses, The Burrell Collection, Glasgow.
Oil on canvas, 51 x 51 cms.
Image courtesy of Glasgow Museums www.glasgowlife.org.uk
Still Life (c.1906-7) The Fitzwilliam Museum, Cambridge.
Oil on panel, 24.5 x 35 cms.