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.