This is a rare opportunity to appreciate the vast body of work produced by John Lavery, the Belfast-born Impressionist, who was also considered one of the group of artists known as the Glasgow Boys
The works on display, many borrowed from prestigious galleries and from private collections, offer the chance to follow John Lavery’s artistic adventures from the beginning.
Lavery built his life from nothing, having to earn money from day one. After running away to Glasgow, aged 15 there was no going back.
Contracted to work with a photographer, the young artist took the opportunity to learn drawing and eventually began exploring painting.
In 1880 he was given the chance to exhibit at the Glasgow Institute. His talent of capturing light with a few brush strokes makes his work in this period a snapshot of life in 1920s Scotland.
France held the pull for many young artists, Lavery included. He always said his time in France were his happiest days. Learning to work outdoors using a portable easel and palette, it became his corner of the world. Focussing his talent on rural naturalism and scenes of everyday life, his work in France was in keeping with ideals of the Glasgow Boys.
Lavery returned to Glasgow when the city was flourishing. Glasgow City Fathers commissioned him to paint the state visit of Queen Victoria in 1888. He invited each individual dignitary to his studio and painted their likeness so he could incorporate them into the final painting.
This cemented his career as a high society painter. Lavery’s use of delicate, pastel colour brings Edwardian tennis games and boating trips on the lakes a vibrancy that almost makes you feel you could step into the moment.
Following the trend for discovering the Arab world, Lavery bought a villa in Tangier. For 20 years it became his winter retreat and it is here you can see how his work truly celebrates the people and the patchwork of shapes that light and shade can produce.
In 1896 he moved to London and became one of the youngest Associate Member of RSA. Thriving in Kensington, he could immerse himself in the Bohemian neighourhood. In 1909 Lavery (53) and Hazel (29) were married. He painted the stunning, full length portrait ‘Hazel in Black and Gold’ and she became regarded as one of the great beauties of the day.
Lavery’s long career becomes a camera to life. In 1917 he was appointed official war artist, the first war artist to depict the aftermath of war. Throughout his career Lavery’s connections to both Scotland and Ireland remained strong. This exhibition is a history lesson through a time of great changes.
Lavery On Location, Royal Scottish Academy, The Mound, Edinburgh until October 27
https://www.nationalgalleries.org/exhibition/irish-impressionist-lavery-location
