Amsterdam Buildings

Anne Redpath

DESCRIPTION

By the early 1960s Redpath was in poor health, but she continued to travel with her sons, including to Holland in 1962. This canal view in the Oude Zijde (Old Side) of Amsterdam is dominated by the cone-topped Schreierstoren (Weepers’ Tower) and the sombre Sint Nicolaaskerk. It is filled with Redpath’s characteristic love of historic buildings and feeling for their organic and idiosyncratic structures. This painting was exhibited posthumously at the Royal Academy a few months after her death in January 1965. This is one of few urban cityscapes Redpath painted.

DETAILS
  • Artist

    Anne Redpath

  • Date

    c.1963

  • Medium

    Oil on canvas

  • Object number

    799

  • Dimensions unframed

    62 × 74 cm

  • Dimensions framed

    85 × 97.5 × 3.5 cm

ARTIST PROFILE

Anne Redpath OBE RSA ARA ARWS, 1895-1965

Born in Galashiels, the daughter of a tweed designer, Anne Redpath overcame initial parental opposition to the study of art on condition that she also trained as a teacher. In 1913 she enrolled at Edinburgh College of Aer, where she was taught by, among others, David Alison, Henry Lintott and D.M. Sutherland. The college awarded her a travelling scholarship in 1919, and Redpath went to Brussels, Bruges, Paris, Florence - where she lived for several months - and Siena, where she was impressed greatly by the work of the Sienese Primitives, particularly the brothers Lorenzetti.


In 1920 she married James Beattie Michie, an architect with the war Graves Commission in France, spending fourteen years bringing up a family, first in northern France and then on the Riviera, painting whenever she could. She and her three sons returned to Scotland in 1934, living in Hawick, where she had been brought up. She moved to Edinburgh in 1949. On her return to Scotland she took up painting again in earnest, forced to earn a living from it. Until she travelled in Spain in 1951 her paintings were mainly still life’s and landscapes, but after that visit her art developed a new strength and drama, her handling of paint was much freer, and her work developed a more abstract quality.


Colour and texture fascinated Redpath. The influence of her father's work remained with her, as she observed in later life in an exhibition catalogue: "I do, with a spot of red or yellow in harmony with grey, what my father did with his tweed." In the last twelve years of her life she painted in Corsica, the Canary Islands, Portugal, Amsterdam and Venice. Serious illness in 1955 and 1959 seemed only to intensify the emotion with which she charged her canvas.


Redpath painted highly decorative works in which simple colour harmonies dominate. revealing the influence of the French post-Impressionist, in particular Gauguin, Matisse, Bonnard and Vuillard.