Visual Art
DAVID SHRIGLEY Edinburgh Printmakers, until 16 Sep. 000
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PAINllN’» . . . to keep depression at bay . The Vibrating orange descriptor 'l'irzfngrzrzitoi' beneath. lDEiVIfI Pullrirkl VAN GOG" AND BRITAIN' and reen ‘Two Crabs‘ was bou ht in 1893 for £17, THE PIONEER COLLECTORS g 9
Dean Ganery‘ Edinburgh Um" 24 September but nine years later it sold for only £8. In the
..... display of letters and catalogues, there is a ‘confidential‘ price list annotated by the director of In 1888, Vincent Van Gogh wrote to his brother the National Gallery and, fascinatingly, a flower Theo (an art dealer, ironically): ‘I cannot help it that piece exposed as a fake in 1927. my pictures do not sell.’ This has been one of his Scotland was an important centre for Van Gogh most enduring myths. Similarly, it has been collecting, and two fiery portraits of his assumed that the British did not have the taste for Glaswegian friend Alexander Reid are reunited for avant-garde art at the turn of the century. Pioneer the first time since the 18805. Dundonians got the Collectors dispels this myth. The excellent taste for Van Gogh through the Colourist works exhibition of the master’s work is the first in they already owned. Landscapes show pale Scotland for nearly fifty years, and the first ever to Impressionist flicks of light, the brooding winter focus on how Van Gogh was collected here. skies of Paris, or fields with murky green swirls ‘ , The chronological arrangement gives us a mini- thick as mustard, The star of the show is retrospective of Van Gogh and a cross-section of ‘Wheatfield, with Cypresses' from the National 9, the drawings, prints and oils produced in France Gallery (the first to enter a British public
during his finest years. A parallel story is told of collection) — a gorgeous, glowing rendition of
, the collectors, their personalities and the history billowing clouds and the contorted hillside near
' of the paintings after Van Gogh put down his St-Remy. ‘Oleanders' from the Metropolitan brushes. Now in the National Gallery of Scotland, Museum, NY, is absolute success: the heavy the writhing ‘Olive Trees‘ outside Van Gogh‘s blooms fight against the spiky leaves, teetering on asylum was bought by Michael Sadler, whose the edge of the table against a jade, impasto obsessive collecting was, we are told, like 'a drug abyss. (Ailsa Boyd)
l’AlNlle, ANDREW MCKENZIE: DELICATE GROUND Amber Roome, Tue 3 August—Thu 7 September
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; ' THE LIST FESTIVAL MAGAZINE 71