Flowers in a Silver Jug

Samuel John Peploe

DESCRIPTION

Throughout Peploe's life his most characteristic work was his still life. Flowers in a Silver Jug is an early exercise in tonal values. He was very painterly in his handling, and both enjoyed and was aware of the physical qualities of the medium. This painting previously belonged to John Cowan, an Edinburgh paper manufacturer and a notable collector of modern British and Continental painting. Cowan, a friend of both Peploe and Cadell and of several of the Glasgow Boys, was persuaded by Sir John Lavery to have his portrait painted by Whistler in 1893. The unfinished work is now in the National Gallery of Scotland. 

DETAILS
  • Artist

    Samuel John Peploe

  • Date

    c. 1904

  • Medium

    Oil on Panel

  • Object number

    754

  • Dimensions unframed

    25.4 × 34.9 cm

  • Dimensions framed

    38 × 48 cm

ARTIST PROFILE

Samuel John Peploe RA, 1871-1935

Born in Edinburgh, the son of a banker, the young Samuel Peploe resisted a career in the law to spend four years attending art schools divided between the Royal Scottish Academy and the Académie Julian in Paris. Settling in Edinburgh in the early 1900s, Peploe established his reputation as a painter of still lives and innovative portraits influenced by the breakthrough early moderns, Édouard Manet and James McNeill Whistler.

Meanwhile his love of France and friendship with J.D. Fergusson led to annual visits across the Channel. Peploe wrote admiringly of the French: ‘They always remind me of the Gaelic- so frank and open…They so enjoy life largely in an animal way.’ He spoke from experience as his long-term girlfriend and future wife, Margaret Mackay, was Gaelic, hailing from the Isle of Barra.

The revolutionary Fauve painters who took Europe by storm in 1905 unlocked the reserved Scot’s wild side. Peploe’s move to Paris with his family in 1910 inspired a series radical ‘colourist’ paintings, which were deemed too difficult by his Edinburgh dealer, who promptly dropped him.

Unfit for military service, Peploe’s wartime paintings reveal the influence of Cézanne. The advent of peace saw his resurgence as a colourist establishing his reputation as a master of still lifes and interiors of theatrical stillness and beauty. Almost every year he visited Iona with Cadell producing seascapes which capture the unique clarity of Scottish light.

By the time of his death in 1935, aged 66, Peploe was hailed as ‘the real leader of the forward movement in Scotland.’