James morrison the north wind

James Morrison The North Wind

James Morrison The North Wind 6 August – 5 September 2015

The Wild Geese ‘Oh, tell me what was on yer road, ye roarin’ norlan wind, As ye cam’ blawin’ frae the land that’s niver frae my mind?

My feet they trayvel England, but I’m deein’ for the north—’ ‘My man, I heard the siller tides rin up the Firth o’ Forth.’

‘Aye, Wind, I ken them well eneuch, and fine they fa’ and rise, And fain I’d feel the creepin’ mist on yonder shore that lies, But tell me, ere ye passed them by, what saw ye on the way ?’

‘My man, I rocked the rovin’ gulls that sail abune the Tay.’ ‘But saw ye naethin’, leein’ Wind, afore ye cam’ to Fife?

There’s muckle lyin’ yont the Tay that’s mair to me nor life.’

‘My man, I swept the Angus braes ye haena trod for years—’ ‘O Wind, forgie a hameless loon that canna see for tears!—’ ‘And far abune the Angus straths I saw the wild geese flee, A lang, lang skein o’ beatin’ wings wi’ their heids towards the sea, And aye their cryin’ voices trailed ahint them on the air—’ ‘O Wind, hae maircy, haud yer whisht, for I daurna listen mair!’

Violet Jacob (1863-1946)

Pastoral, 20.v.2015 oil on board, 111.5 x 25.5 cms

the wild geese / MORE THAN PRECISE

The Powis, 9.iv.2013 (cat. 39)

This century-old poem, ‘The Wild Geese’, illustrates Violet Jacob’s feelings towards her homeland of Angus, northeast Scotland. Whilst travelling England, she stops for a moment of reflection when she senses the imposing presence of the north wind. Rhetorically, she asks the wind to recall what it has seen during its journey south. Jacob longs for a report on her home, prompting her to remember several of its features.

Her reminiscing culminates in a vivid recollection of how the wild geese battle with the wind, courageously and habitually, from the fields where they graze daily to their home at sea. Remembering how intent the geese were to reach their domicile prompts her to feel a sense of guilt. She believes that she is weak for not being like those geese; for not returning despite obstacles in her path. At this point, when the memory evokes a yearning too intense to bear, she begs the wind, and her thoughts, to leave.

James Morrison was not consciously thinking about ‘The Wild Geese’ when creating the paintings in this exhibition. However, upon recently rediscovering the poem, he felt that the manner in which Jacob

described the county of Angus resonated with how he paints the same locality.

Jacob’s description of place is more than precise. In addition to recounting what a scene looked like, she simultaneously provides an accurate account of her experience of a place. A ‘lang, lang skein o beatin wings’ does not merely imply that the flock she remembers was physically large, but that she had seen the same sight, repeatedly, as the years passed by. It is the memory, as well as the sight, which was long to Jacob. It is this bilateral precision in terms of description which Morrison appears to admire, and seeks to transmit, via paint.

With meticulous attention to relationships between colours and an expert rendering of tone, Morrison simultaneously pulls viewers into his present and his past. He shows his audience a view which he saw in front of him, but at the same time he projects his memory of various landscapes; memories of the act of painting; and memories of the man he was when he painted previous pictures. This collection of work, like Jacob’s poem, also lends itself to being defined as more than precise.

A hybrid blend between ‘the now’ and the ‘memory of now’ results in pictures which appear both ominous and fabulous. On one hand these paintings are things of beauty, but on the other they offer a visual depiction of frustration felt over a continual battle to depict truth via a mind that is engineered to automatically create perfection.

In The Powis, 9.iv.2013 (cat. 39), rain falls on the right side of the picture; drizzle drowns the woods in the background in a veil of wondrous blue. The tree in the centre, closest to this spectacular aquatic

past. The faultlessness of the landscape and glimmering undertones of the personality of an artist, wrestling with his experience, is a primary duality within these works.

The pictures also present a subsidiary duality. Some paintings literally depict scenes which, if they were physically experienced in reality, would generate feelings of conflict within the viewer. For example, if you were to witness the sinister wall of weather depicted in Dark Landscape, 18.i.2015 (cat. 2) whilst out walking, a common reaction would be to retreat swiftly back to the car, or to wherever you had come from, to return to pleasance and warmth. At first these clouds push you away and force you to consider

burial, recoils in horror at the spectacle before it. The other central tree, on the left, leans forward – away from its possessed partner. It appears as though this second tree is urging the comparatively tranquil left side of the painting to embrace and protect it from the right side.

Shifting tones, from the white of the board to fresh green leaves, on the contrasting brighter half, present a scene and evoke a feeling which is altogether warmer. In return for the positive tree’s eagerness to be accepted, clouds gravitate towards it. The balance between the two sides of this painting is harmonious. It is like a definition of yin-yang told via the medium of paint through the genre of landscape. This is not only an aesthetically pleasing picture, but an essay in experience. The view probably never looked this perfect. If it did, the moment was fleeting and Morrison grasped it. Once caught, the painter elaborated upon it – all the while drawing upon memories of brushstrokes and perfections

doing just as described. Staying a few moments longer, however, in reality, the scene then dares you to advance.

Take a moment to imagine doing just that…

Imagine moving forwards as fast as possible and experiencing a wave of sensations head-on as you enter the elements depicted here. What would the icy January wind feel like as it parted your hair in all directions? What would it feel like as it glided over your cheeks? What would it feel like if you were forced to close your eyes; to be robbed of your vision?

Opposing forces of beauty and danger are also present in Morrison’s more tranquil scenes – pictures like High Tide, 20.viii.2010 and Summer, 31.iv.2014 (ex catalogue). In the former work, if you envisage yourself in that scene, enjoying that symphony of contrasting colours, ask yourself if you are standing? Are you swimming, or are you drowning? In the latter work, are you tall or are you floating away from yourself? The lack of a

Duality

firm physical location for the viewer is an intriguing tool which brings a sense of the unknown to something which at first glance appears so familiar. This tool intensifies the further complexities of the paintings.

These contrasts are the result of years of practise, education and influence. In conversation, the painter referred to the art and artists he admires. He is enthusiastic about Poussin; Chinese painting; the Hague School; the Barbizon (particularly the oeuvre of Boudin); and, unpredictably, Picasso. It is a luxury to be able to consider this range of enthusiasms, in turn, here. By doing this, it may be possible to decipher how the dualities in Morrison’s work have come to fruition.

Poussin’s appreciation of a story underpins the world depicted in Morrison’s paintings. Morrison does not simply paint what is in front of him. He paints what he has left behind, what he senses to his sides, and what he believes is beyond himself. This is demonstrated efficiently in End of Winter, 7.i.2012 (cat. 15). It is possible to envision more long grass billowing in the wind in the field behind. It is possible to imagine the view back, if you were to walk all the way out to the mountains located in the far depths of the background.

Morrison specifically mentioned Chinese painting when reminiscing over a picture which he wished had never been sold. He lamented

Influence

the loss of a work which he felt depicted a perfect harmony between strength and fragility. He recalls painting a bridge which was ready to collapse on itself at any moment. The light, specifically, the impact of the white skies on the light, made the rickety wooden bridge appear the darkest object in the vicinity. The contrast between the bright surroundings and the dark bridge emphasised pending destruction.

Although the picture depicting the bridge is not present in this collection, similar power is generated by works here too. The light and importantly the impact of light on colour encourages the branches of the tree in the centre of Tree and Sea, 3.vii.2014 (cat. 24) to dance, lyrically, in the breeze. The light allows the sturdy structure to showcase how gentle it can be. By blending lessons learned from Poussin’s Classical concept of telling a story within space, and Chinese artists’

Poussin’s influence manifests as a baseline in Morrison’s landscapes.

Both artists are Classicists. Poussin brought Classical buildings, characters and stories into his works, but the appearance of his landscapes, with these features omitted, can still be defined as ‘Classical’. The French painter’s landscapes instil a concept of completeness. The pictures were not just sets for props and actors.

Poussin ensured that viewers understood that there was a world surrounding the scene which he had depicted. In works, he painted the place where people had come from; the place where people were located; and hinted at the place to which they would be going. It was an altogether Classic interpretation of space; a visual depiction of time passing in one canvas.

abilities to emphasise properties of structure via the manipulation of light, Morrison successfully creates the duality of the present and his previous presents in this work. Although the tree is static in the picture, he makes it dance moments of past, present and future in the viewer’s mind via lessons learned from a combination of these two influences.

The impact which the Barbizon School’s technique has had on Morrison has been documented in the past. The Hague School, a group of Dutch artists directly inspired by Barbizon, has also been underlined as being particularly influential on the artist too. Both schools value the manipulation of tone and light, and the intensification of texture, to capture the essence of moments. The artists belonging to both of these groups carefully balance each attribute in order to add durability to the present moment. With these affiliations obvious, recent talks with Morrison, revealing an admiration for Cubism (specifically Picasso), appear surprising. With Morrison ardently proving to be a Classicist, and Picasso traditionally representing the antithesis of Classicism in art historical discourse, this revelation is intriguing.

Picasso’s Cubism, although it remained avant garde until the era of Pop, can perhaps be defined as ‘Classical’ in post-modern terms. In the ultramodern world, where images are easily made, reproduced and disseminated, Picasso becomes a ‘Classic artist’. Picasso understood how the deconstruction of composition within a painting could evoke different moments and senses on one canvas. A shattered depiction of a guitar in Picasso’s Cubist world conjures the sounds it made and how it moved whilst it was being played. Cubist concepts of time permeate Morrison’s landscapes. As the trees move, as the branches stretch and shimmy whilst being buffeted by gusts, they mimic Cubist evocations of Synesthesia. Morrison does not appear to be Romantic about this feature. He appreciates skill and respects his medium, but he cannot help but get excited by the seemingly endless capabilities of paint. His interest in Cubism reflects this. It highlights the fun, the sheer joy, which collectively capturing multiple moments and sensations with paint brings to his life.

Today The historiography of Scottish art has confirmed that landscape, as a genre, has become a symbol for Scotland, redefined and updated by succeeding generations of painters. In the nineteenth century, landscape

allowed Scottish artists, such as Horatio McCulloch, to represent and clarify their identity. The genre has permitted artists to meditate upon what it meant to be Scottish and to live in Scotland. The nation is comfortable in the knowledge that they are defined by a genre, by a notion of beauty. But is there any place for a contemporary landscape painter in the atomised world of contemporary practice and uncertain politics?

2015 sees the dawn of a new Scotland. Whether the 2014 Referendum appears a ferocious tornado or a fragile breeze, there is no denying that new ideas have been scattered like seeds all over our land. Whatever happens in the future, this time is likely to be viewed as a period of germination. It is surprising how fitting organic metaphors are when describing things that are happening in one small area of an intense, dynamic and largely disconnected world.

The effectiveness of organic terminology in describing the current socio-economic and political climate of Scotland perhaps reveals why Morrison’s landscapes are still significant in terms of Scottish contemporary art. Natural metaphors are efficient at describing change when things are changeable. This may be because a natural life-cycle, such as the seasons in a year, can be used as a gauge. It is now, in times of deep uncertainty about Scotland and its place in the world, that the country needs Classicism and familiarity in its art. With so much unknown, some grounding is ideal.

Morrison’s pictures can ‘ground’ viewers. They welcome an audience into an environment, away from most people’s everyday normality, and invite exploration. Once viewers have explored their surroundings, they are invited to explore themselves. Beyond this, spectators are permitted to explore the artist. This results in a deeply human connection. It is this connection which makes Morrison’s paintings appear fresh when displayed next to ultramodern work. Rather than appearing dated, his paintings, his Classicism and his skill call to question the shelf life of ultramodern pieces. To clarify, when juxtaposed with conceptual work, Morrison’s paintings prompt us to question ourselves; our times; and the world around us. It is for these main reasons that these pictures can be defined as being more than precise.

Dr Fern Insh

1 Threatening, 2.i.2013 oil on board, 32 x 36 cms

2 Dark Landscape, 18.i.2015 oil on board, 28 x 40 cms

3 Storm over the Grampians, 14.i.2015 oil on board, 75 x 101 cms

4 Meditation on Nether Dysart V, 12.ii.2014 oil on board, 15 x 154 cms

5 Storm Clouds, 2013 oil on board, 14.5 x 18 cms

6 Approaching Storm, 2013 oil on board, 13.5 x 15 cms

7 Winter Light, 2013 oil on board, 18 x 23 cms

8 Winter Dawn, 9.xii.2013 oil on board, 50 x 152 cms

9 Meditation on Nether Dysart III, 7.xii.2013 oil on board, 63 x 107 cms

10 Winter in Angus, 2.ii.2015 oil on board, 75 x 101 cms

11 Angus, Winter, 19.xi.2013 oil on board, 54 x 69 cms

12 Field Edge, 30.xi.2010 oil on board, 25 x 50 cms

13 Snow to the North, 2013 oil on board, 18 x 49 cms

14 East Dysart, 23.xii.2014 oil on board, 48 x 75 cms

15 End of Winter, 7.i.2012 oil on board, 31 x 84 cms

16 Calgary Shore, 6.i.2013 oil on board, 30 x 93 cms

17 Atlantic Rim, Mull, 31.v.2011 oil on board, 100 x 153 cms

18 Loch Broom, 8.i.2011 oil on board, 32 x 103 cms

19 Summer Isles I, 2013 oil on board, 19 x 73.5 cms

20 Horse Island, 10.x.2009 oil on board, 38 x 52 cms

21 Loch Broom, x.2009 oil on board, 39 x 101 cms

22 Mull, 16.vi.2012 oil on board, 76 x 103 cms

23 Dawn, 15.iii.2014 oil on board, 29 x 39 cms

24 Tree and Sea, 3.vii.2014 oil on board, 21 x 77 cms

25 Ulva, 8.x.2013 oil on board, 28.5 x 147.5 cms

26 Easter Newton, 23.vi.2013 oil on board, 15 x 18 cms

27 Summer Clouds, 23.vi.2011 oil on board, 48 x 101 cms

28 Tayock, 29.viii.2014 oil on board, 74 x 100 cms

29 Westward, 2013 oil on board, 19.5 x 19.5 cms

30 Meditation on Nether Dysart I, 3.ii.2014 oil on board, 86 x 154 cms

31 Sunlight through the Clouds, 10.ii.2015 oil on board, 24 x 150 cms

32 Clouds to the West, 2013 oil on board, 14 x 15.5 cms

33 Strathella, 15.iii.2014 oil on board, 65 x 103 cms

34 Approaching Rain, 20.iii.2014 oil on board, 59 x 35 cms

35 Clouds from the East, 23.iii.2014 oil on board, 35 x 59 cms

37 Grampians Distant, 2013 oil on board, 15 x 29 cms

36 Storm over the Grampians, 24.iii.2014 oil on board, 45 x 50 cms

38 Strathmore, 12.iii.2014 oil on board, 36 x 60 cms

39 The Powis, 9.iv.2013 oil on board, 23 x 102 cms

40 Angus, 14.iv.2012 oil on board, 73 x 102 cms

41 To the West, 6.v.2014 oil on board, 26 x 15 cms

42 Approaching Rain, Ulva Ferry, 27.v.2011 oil on board, 75 x 101 cms

43 Towards the Grampians, 10.ix.2013 oil on board, 20 x 146 cms

44 Westerly, 12.ix.2011 oil on board, 100 x 152 cms

45 Tree and Sky, 10.x.2014 oil on board, 35 x 150 cms

46 Trees at Balgove, 12.x.2014 oil on board, 74 x 101 cms

James Morrison A Thank you His last exhibition in November 2012 celebrated his eightieth birthday and preceded the publication of an excellent monograph on his life and work alongside a retrospective exhibition at The Fleming Gallery in London. Over the sixty years or so of his time as an exhibiting artist much has been written about the developments in his painting, the addition of new subjects, his on-off love affair with the polyptich, his almost steadfast refusal to include fauna in his flora and his adamantine insistence of the relevance of landscape in contemporary art. I can look back on previous forewords and each might be partially relevant this time around. Our exhibitions might be milestones and require some words of introduction and of course new writers can bring fresh insights in front of his paintings. We have a younger, questioning voice to thank in Fern Insh for her introduction so that it would clearly be perverse to ask “what more can be said?� An argument could run that nothing need ever be written because Morrison himself still has much to say and the work can speak eloquently for itself. The hope for any artist at twentyone or eighty-three is that an exhibition brings the work into the light and makes it available to anyone who might respond. However we have to look after business and placing this note at the back of the catalogue by way of a thank you to Jim seemed the right thing to do. So long as he has something to say, The Scottish Gallery will be delighted to provide the walls and lights and catalogue notes.

Guy Peploe, The Scottish Gallery

Left: Meditation on Nether Dysart III, 7.xii.2013 (detail) (cat. 9)

James Morrison RSA, RSW, D.Univ.

1932 Born in Glasgow 1950-54 Studied at Glasgow School of Art 1958 Won Torrance Memorial Prize, RGI

Founder Member of Glasgow Group 1962-63 Visiting Artist at Hospitalfield House, Arbroath 1965 Moved to Montrose

Joined staff at Duncan of Jordanstone College of Art, Dundee 1968 Arts Council Travelling Scholarship to Greece 1969-71 Presenter BBC Arts Programme Scope From 1976 Painting in various regions of France – Provence, Isere, Lot and Paris 1979-87 Senior Lecturer at Duncan of Jordanstone 1987 Resigned post at Dundee to paint full-time Extended painting trip to Canada 1988 Writer and presenter of STV series The Scottish Picture Show 1990, 92, 94, 96

Painting in the Canadian High Arctic 1997 Painting in Botswana 1999 Painting in the Fens, Cambridgeshire 2003 Painting in Switzerland 2007 Painting in Collioure, France

SOLO EXHIBITIONS 1956, 58 McClure Gallery, Glasgow 1959, 64, 67, 75, 78, 84, 88, 90, 92, 94, 97, 99, 2002, 2005

The Scottish Gallery, Edinburgh 1962 The Reid Gallery London 1968, 70 Vaughan College, Leicester 1968, 69 Richard Demarco Gallery, Edinburgh 1970, 77 Compass Gallery, Glasgow 1971, 72 Galleria Vaccarino, Florence 1973 Steiger Gallery, Moers, Germany 1974 Düsseldorf Kunstmesse 1979, 81, 85, 95, 97, 2000

Thackeray Gallery, London 1986 The Fine Art Society, Glasgow 1987 Waddington and Shiell Gallery, Toronto 1988 Perth Festival Exhibition, Perth Museum and Art Gallery 1989 The Scottish Gallery, London

The Macaulay Gallery, Stenton 1990 The Glasgow Paintings, William Hardie Gallery, Glasgow 1991 Paintings of the Canadian Arctic, The Scottish Gallery, Edinburgh 1991, 94 The Riverside Gallery, Stonehaven 1992 Paris in Winter (drawings) – The Scottish Gallery, Edinburgh 1993 The Arlesford Gallery, Hampshire 1995 Talbot Rice Gallery, (Arctic works) University of Edinburgh 2000 Painting of Mawana, The Scottish Gallery, Edinburgh 2000 Art London, Art Fair, London with The Scottish Gallery 2007 New Paintings, The Scottish Gallery 2009 The Edge of Allegory, The Scottish Gallery 2012 A View from Here, The Scottish Gallery 2013 Land and Landscape: The Painting of James Morrison, Fleming Collection, London 2015 Paintings of War, Montrose Museum, Montrose

GROUP EXHIBITIONS 1956 1964 1966 1967 1968

1969

1973 1976-85 1977

1980 1981

1981-82 1982

1983

The Arts and the Cafe Royal, an exhibition of contemporary painting, Edinburgh +/-30, an exhibition of contemporary Scottish Art, Scottish Arts Council 10 West of Scotland Painters, Arts Council Gallery, Belfast First Edinburgh Open 100, Festival Exhibition, Richard Demarco Gallery, Edinburgh Three Centuries of Scottish Paintings, Canada Scottish Contemporary Painting, Richard Demarco Gallery, Edinburgh Oireachtais Exhibition, Dublin Municipal Gallery 2 plus 3 Exhibition: Two Canadians and Three Scots (with Robert Downing, Jack Wise, Neil Dallas Brown and John Knox), Richard Demarco Gallery Galleria Acropoli, Venice Scottish Art, ESU, Edinburgh Festival Seven Painters in Dundee, Scottish Arts Council Exhibition, The Mcmanus: Dundee’s Art Gallery & Museum, Dundee Scottish Painting in Holland Scottish Print Open 2, an exhibition of contemporary Scottish prints Art Fair, Basel Contemporary Scottish Painting, Arts Council Touring Exhibition Eleven Scottish Artists, Universities of Surrey and Nottingham Art in the City, MacLean Gallery, London Contemporary Art from Scotland, Touring Exhibition: Kendal, London, Sheffield, Cardiff, Middlesbrough Small is Beautiful, Dunkeld Gallery Glasgow Group Jubilee, McLellan Galleries, Glasgow Noise and Smoky Breath, Visual Images of Glasgow 1900-1983, Third Eye Centre, Glasgow

Different Kinds of Good Weather, Arts Council Touring Exhibition

A Festival of Scottish Drawing, Fine Arts Society, Glasgow 1985 Art for Africa, Contemporary Scottish Art, City of Edinburgh Art Centre 1985 Portraits on Paper, Scottish Arts Council

The Parks in Glasgow, Compass Gallery, Glasgow 1986 Contemporary Scottish Painting, Open Eye Gallery, Edinburgh 1988 A Festival of Gardens, Fine Arts Society, Glasgow

20th Anniversary, Thackeray Gallery, London

Post 1945 and Contemporary Art, Ewan Mundy Fine Art 1989 A View from the North East, ESU Gallery, Edinburgh

The Auld Alliance, Riverside Gallery, Stonehaven

The Auld Alliance, The Scottish Gallery, Edinburgh

London Sea and Shore, The Scottish Gallery, Edinburgh 1990 Scottish Art, 1900-1990, The Scottish Gallery, London

Paintings from the Clydesdale Bank Collecion, Glasgow

21 Years of Contemporary Art, Tramway Gallery, Glasgow

A Patron of Art, The Royal Bank Collection, Edinburgh 1991 Scottish Art in the 20th Century, Royal West of England Academy, Bristol 1992 150th Anniversary Exhibition, The Scottish Gallery, Edinburgh 1993 The Twelve Days of Christmas, The Scottish Gallery, Edinburgh 1999 Mountain, Wolverhampton Art Gallery

Members of the RSA, The Albemarle Gallery, London Connections, RSA Festival Exhibition

Painter Members of the RSA, Albemarle Gallery, London 2001 Aspects of Scottish Drawings, 1900-2001, The Scottish Gallery, Edinburgh 2004 Art London with The Scottish Gallery 2008 Alliance Francaise, (with Douglas Davies), Glasgow Exhibition 2015 10th Anniversary Exhibition, Kinblethmont, Angus 1984

COLLECTIONS Duke of Edinburgh The Scottish Arts Council Aberdeen Art Gallery Dundee Museum and Art Gallery Kelvingrove Art Gallery and Museum Perth Museum and Art Gallery Edinburgh, Glasgow, Heriot-Watt, Stirling and Strathclyde Universities Dundee College of Further Education Vaughan College, Leicester Argyll Education Committee Tayside Education Committee Edinburgh Education Committee Strathclyde Regional Council Bank of Scotland British Linen Bank Clydesdale Bank Royal Bank of Scotland Trustees Saving Bank The Fleming-Wyfold Art Foundation

BBC Grampian Television Edinburgh Fund Managers General Accident Life Association of Scotland Scottish Amicable Life Assurance Society Earl of Airlie Earl of Dalhousie Earl of Moray Brascan, Canada Britoil plc Distillers Co plc Wm Grant and Sons Ltd Dundas & Wilson Low and Bonar plc SISIS Equipment Ltd I.B.M. Department of the Environment (DEFRA) Works in offices and Embassies worldwide Works in Private Collections in the UK, Canada, Europe and USA

Land and Landscape: the Painting of James Morrison 160 pp | £30.00 27 x 24 cms Land and Landscape: the Painting of James Morrison, Dr. John Morrison's book on his father, published by The Fleming Collection, is available in three different versions (blue, aubergine and brown). It was published to coincide with the major retrospective of the artist held at The Fleming Collection, London from the 19th February – 6 April 2013.

James Morrison & Joan eardley In Context with Guy Peploe 20 August 2015, 16:00 – 17:00 RSVP Guy Peploe will be giving a short talk linking our Festival exhibitions: James Morrison, The North Wind and Joan Eardley In Context.

Morrison first came to live at Catterline when Eardley had her cottage in the village and he and his wife, Dorothy, got to know her well. A rediscovered picture from 1963 which Morrison painted as an immediate response to the tragic early death of Joan Eardley will be on display and discussed.

Published by The Scottish Gallery to coincide with the exhibition James Morrison: The North Wind 6 August – 5 September 2015 Exhibition can be viewed online at www.scottish-gallery.co.uk/jamesmorrison ISBN: 978-1-910267-19-6 Photography by John McKenzie Printed by J Thomson Colour Printers All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers.

16 Dundas Street, Edinburgh EH3 6HZ Telephone 0131 558 1200 Email mail@scottish-gallery.co.uk www.scottish-gallery.co.uk The Scottish Gallery is a partner of the Edinburgh Art Festival

Front cover: Storm over the Grampians, 14.i.2015 (cat. 3) (detail) Inside front cover: Field Edge, 30.xi.2010 (cat. 12) (detail) Right: Dawn, 15.iii.2014 (cat. 23) (detail)