I posted photos of some of the buildings in Drachten, Friesland, The Netherlands, in November 2016.

Last year we visited the town again and it seemd to be on a Mondrian kick.

Several commercial premises were done out in his signature style.

Garage:-

Shoe shop:-

Shoe shop’s other window:-

Stack of cubes in a café:-

Suspended cubes in the same café:-

We asked in the café what the reason for the Mondrian decorations was and they seemed not to know but thought it might have been a celebration of De Stijl (the Style.) 2017 was its 100^th anniversary.

There’s less than a week left of the “A New Era” Exhibition at the Modern Two Gallery of the Scottish National Gallery of Modern Art.

I thought I’d post more of the delights to be found there.

The Sensation of Crossing the Street by Stanley Cursiter:-

Heavy Structures in a Landscape Setting by William McCance:-

Cartwheels by Eric Robertson:-

Women Singing at a Table by Keith Henderson (reminiscent of his “The Harbour Crowd” at that earlier exhibition):-

After the Storm Loch Tay by William McTaggart:-

Das Schloss by Thomas Nigel McIsaac:-

Orchestral: Study in Radiation by William Watson Peploe:-

The same artist’s Souvenir de triangle rouge:-

Untitled (aquarium) a sculpture by William Turnbull:-

The identically titled painting is an odd experience. You can almost see the fish moving:-

What could this picture possibly be? Fingerprints? Abstract Art?

It’s actually sand dunes on Mars catching low-angled sunlight.

From Astronomy Picture of the Day for 14/4/2018.

We’ve been to the New Era exhibition of Scottish Modern Art 1900-1950 at the Scottish National Gallery of Modern Art (Modern Two.)

It’s not quite as good as the previous exhibition True to Life (for which I see some of the links to the paintings are no longer working) but there is still some good stuff there.

More so in the first two galleries. The pictures became darker both in tone and appearance as the galleries wore on.

Stanley Cursiter’s “The Regatta” is particularly striking with its bold slabs of colour:-

Cursiter’s “Rain on Princes Street”:-

J D Fergusson is more usually reckoned a colourist but though not an official war artist he was allowed to paint Portsmouth Docks during the Great War.

Another evocation of war is in Eric Robertson’s “Shellburst”:-

So too does Keith Henderson’s “Camouflage Hangars and Gas Gong”:-

The caption for Edward Baird’s “Unidentified Aircraft over Montrose” is odd as it says the bridge at the lower left has since been replaced by a suspension bridge but the one depicted is clearly exactly of that type:-

William McCance’s “Study for a Colossal Steel Head” is very modernistic:-

A small model of The Kelpies in Kirkcudbright. The originals are in Falkirk at The Helix. Bridge over River Dee in background.

Side view:-

Just along from the minin Kelpies is a memorial, “In memory of loved ones lost at sea.”

At the True to Life, British Realist Painting in the 1920s and 1930s exhibition at Modern Two I noted down striking works by at least 25 artists.

These two paintings by Harold Williamson sum up the 1930s.

Spray:-

Picnic:-

Other aspects of 1920s/30s life were also covered. This is a portrait of the jazz musician Tom Whiskey (M Julien Zaire) by Glyn Philpot:-

There was too an example of that quintessential 1930s art form, the railway poster. Fortunino Matania’s “Blackpool”:-

Lancelot Glasson’s The Young Rower 1932, caused raised eyebrows at the time it was first shown – perhaps because it showed a young woman apparently at ease with her body.

On the other hand the distinctly quease inducing (I felt uncomfortable being in the same room as it) Little Sister by Dod Procter seemingly excited very little adverse comment despite depicting a barely pubescent girl.

But how about this: William Oliphant Hutchison’s “Walter Rankin Local Defence Volunteer” which as I recall is permanently on display in room 5 at Modern Two (but don’t quote me on that. Whatever; it surely lies outside the exhibition’s time frame.)

Private Godfrey to a tee:-

A couple of weeks age we revisited the True to Life Exhibition at Modern Two, (Scottish National Gallery Of Modern Art,) Edinburgh.

I’ve left this a bit late as the exhibition is only on for a few more days now. Its full title is True to Life, British Realist Painting in the 1920s and 1930s.

I found this to be much more enjoyable than the Beyond Caravaggio exhibition recently finished at the Scottish National Gallery (see also here.)

The first picture in True to Life, though, David Jagger’s “Conscientious Objector”, would not have looked out of place at that Beyond Caravaggio exhibition. It exploits light in much the same way as those did. This is apparently a self-portrait:-

“By the Hills” by Gerald Leslie Brockhurst features on the True to Life Exhibition catalogue cover though for me it’s a bit too sharply delineated. The artist was said to have used lipstick to paint the lips here:-

Another such too sharp picture was Meredith Frampton’s “A Game of Patience”:-

As with the David Jagger painting above Edward Baird’s “Dan Cross” also looks as if it could leap off the canvas. I feel as if I know this person:-

Keith Henderson’s The Harbour Crowd is another fine example of the capture of light. As I recall this painting was one of the exhibits in the Palace of Arts at the Empire Exhibition, Scotland, 1938. There was a black and white reproduction in the relevant souvenir booklet.

Some of the paintings in “True to Life” stretched the definition of realist somewhat.

Though it does contain figures (including the artist) “The Deluge” by Winifred Knights seemed to me to be at least influenced by Vorticism:-

Nora Russell by John Downton captures the impatient aspect of the early adolescent schoolgirl very well. I get the impression she didn’t really want to be painted:-

This week we again visited the Beyond Caravaggio exhibition at the Scottish National Gallery again as it was its last week.

Apart from the four Caravaggios I thought one of the most striking uses of light was in “Christ Before the High Priest” by Gerrit van Honthorst but the reproduction below doesn’t really do it justice.

Two even more impressive paintings were by an artist dubbed The Candlelight Master (whom the information labels suggested may possibly have been Trophime Bigot.)

One was “A Boy With a Lantern” of which I can find no example to show here. The other is from the Royal Collection and is called “Christ in the Carpenter’s Shop.”

This last one, “A Man Singing by Candlelight” by Adam de Coster, is absolutely stunning on the wall.

I’ve been going to Art Exhibitions again.

The Scottish National Gallery at the Mound, Edinburgh, at the moment has an exhibition entitled Beyond Caravaggio (until 24/9/17.)

The entry is £12 but the good lady and myself joined as “Friends of the Gallery” earlier in the year to take advantage of free entry to such exhibitions.

As its title implies most of the works shown are by followers of Caravaggio; though the three or four by the master himself are stunning. Some of the others are almost as good but there was one (which I shan’t name) which I thought was a bit cartoonish.

It was good value even if you’d had to pay £12. There are at least five rooms filled with paintings.

I couldn’t help remarking to the good lady, though, about one of the exhibits, “Why on Earth is there a painting of Russell Brand on the wall?”

The painting is in fact Christ Displaying his Wounds by Giovanni Antonio Galli – called Lo Spadorino.

This painting is owned by Perth and Kinross Council. On the UK Art site he’s listed as Giacomo Galli.

I noticed after we left the building that a full building height reproduction of this painting adorns the front of the gallery.

Stromness (the name is derived from the Norse Straumsnes [headland protruding into the tidal stream]) is Orkney’s second biggest town but that doesn’t mean it’s big. It has just under 2,200 residents.

It has a brilliant Art Gallery called the Pier Arts Centre with several works by Barbara Hepworth, Ben Nicholson and Stanley Cursiter among others. Well worth a visit – and it’s free.

Stromness Museum does have an entry charge but the ticket gives you entry for a week. It is also interesting with exhibits covering Stromness’s sailing hostory and from the Grand Scuttle of 1919 but also many examples of stuffed animals etc that may nowadays be frowned upon.

Here’s a view I took of North Stromness from the hills above:-

In this one most of the town is hidden under the brow of the hill but part of the harbour can be seen with Scapa Flow in the background beyond:-

Both in the previous photo and the one below of Stromness from the south the Northlink Ferries ship ferry Hamnavoe can be seen docked at the terminal. (The picture on the link is no longer accurate. The ferry company has a newer livery now.) Quite often when we walked down into the town along by the harbour the Hamnavoe would be there. Hamnavoe is an old name for Stromness, meaning peaceful harbour.

Looking south from Stromness, Scapa Flow in left distance:-

The High Street and those leading off it are very narrow. High Street:-

This one is quite cheekily named Khyber Pass:-