Centenary Exhibition 3rd August — 2nd September
16 Dundas Street, Edinburgh EH3 6HZ | +44 (0) 131 558 1200 mail@scottish-gallery.co.uk | www.scottish-gallery.co.uk
Left: Melon Seller and Bather, 1996, oil on board, 45 x 60 cms, cat.28 (detail) Previous: Alberto Morrocco's studio at Binrock House, Dundee, photographed in 2007
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A Joyous Expression In this Edinburgh Festival exhibition, we mark the centenary of the birth of Alberto Morrocco, one of the dominant figures in the Scottish artworld in the second half of the 20th Century. His personality, described ‘in a few words’ by his friend David McClure in his introduction to our retrospective of 1990 Paintings from the Artist’s Studio, was full of ‘abundance, energy, intelligence and generosity of spirit.’ McClure went on write “Alberto painted as an Italian operatic tenor sings that is with a passionate theatricality and always ‘con brio.’” There was something exotic about his rich voice, rolling ‘rs’, never far from laughter, but the accent, difficult for many to place, (Italian?) was pure Aberdonian. He had a commanding, Picasso-like presence to which all naturally gravitated, but he had none of the entitlement or arrogance which sometimes accompanies such a talent.
Morrocco was born in Aberdeen of Italian parents in December 1917 the elder of two boys. He attended Gray’s School of Art from the prodigious age of fourteen tutored by James Cowie and Robert Sivell and won the Carnegie and Brough travelling scholarships. Before his travels in 1939 in France and Switzerland he assisted Sivell on the murals at the Aberdeen Students Union on Schoolhill, whose fate to this day remains uncertain. His natural ability to draw was honed working in the life room and supported by his tutors both of whom had come north from the Glasgow School of Art and were admirers of the Italian Quattrocento (although Cowie pursued a highly individual, poetic surrealism). Throughout his professional life Morrocco carried a belief in the importance of preparatory drawing and structured composition. Only in the last fifteen years of his life, after his retirement from College commitments, when the work began to pour out with a joy and urgency hitherto suppressed, did he begin to paint directly and with brilliant colour in a full expression of his joyous outlook. This is not to say that his work had been constrained or conventional: his subject matter varied from the domestic interior, landscape, imaginings of Italian life, still life and many commissioned portraits. He took some pride in this breadth and by extension every aspect of his life: food, entertainment and social life and the interior splendour of his home at Binrock, was an expression of an open, Renaissance figure. After War service (he was initially treated as a potential enemy alien and interned in Edinburgh Castle) he became involved in the medical illustration of the monumental Lockhart’s Anatomy, eventually published by Faber & Faber in 1959, before returning to Italy to complete his travelling scholarship. On his return, he was appointed as Head of Drawing and Painting at Duncan of Jordanstone College of Art in Dundee where he would remain for the next thirty years.
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Outside the Morrocco Ice-Creamery, Aberdeen, c.1928. The artist is in the centre, with his father and brother (Domenicantonio and Val) on the right.
He has married Vera Mercer in 1941 and three children followed; Leonardo, Lorenzo and finally Anna-Lisa in 1960. Further mural commissions, portrait commissions, professional appointments and honours followed along with exhibitions in many venues, including with The Scottish Gallery for the first time in 1957. He was always attentive to his role in Dundee, appointing talented tutors to work with him including McClure, Peter Collins, Jack Knox and James Morrison. James McIntosh Patrick was a demanding colleague with whom lively
disagreement kept everyone alert. Morrison recalled that on one occasion all the staff were invited into Alberto’s studio where a sumptuous buffet was laid out and the Head invited all to join him in celebrating Leonardo da Vinci’s birthday. It is thirty years since his triumphant Festival exhibition at The Scottish Gallery which included seventyone new oil paintings completed in eighteen months, a period in which he had also completed portraits of three university principals.
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Alice Bain wrote an insightful introduction, “Alberto Morrocco paints in a room with Venetian blinds. He has no need of the view of the hump-backed railway bridge across the Tay. Morrocco painted a beach full of blue umbrellas – a hot bustling Lido near Genoa. The landscape of Scotland with its soft hills and mists and damp green is not Morrocco’s scene. He is a man of Mediterranean blues and though he spends most of his time out of the heat, at home in Scotland, his recent work is full of it … his senses have remained true to his southern origins.” In 1993 The City of Dundee produced his retrospective exhibition, curated by Clara Young and Victoria Keller on which occasion a book was published which included a lengthy interview with the artist. He recalled looking at Matisse and accepted that in pursuit of colour form had to be sacrificed; this idea reached fruition in his studio after a visit to Tunisia in 1984 seeing the Berber women in the markets in brilliant coloured drapes against black skin and he began to push colour to ‘the absolute limit of intensity within its range.’ He also began to paint his subject (often imaginary) ‘in a frontal light which doesn’t have any strong cast shadow – so you were getting full value of any colour the subject.’ In her introduction to the book Victoria Keller sums up by placing Morrocco in a graphic tradition derived from his admiration of the Renaissance masters through the guidance of early tutors rather than the ‘belle peinture’ which so influenced both the Scottish Colourists and Edinburgh School. Indeed, he is one of the youngest artist to be included in the British Realism exhibition soon to open at The Scottish National Gallery of Modern Art. His late flowering as a colourist has parallels in late Titian and Monet and can be ascribed to the liberty of removal from responsibility to his students, a re-engagement with his Italian character and his admiration for Matisse. At the end, he perhaps felt an urgency and that he had earned the liberty to work ‘alla prima’, his mind’s eye filled with a thousand sketches, brimming with ideas and variations on his favourite, lifelong themes.
Alberto Morrocco with his sculpture at Gray's School of Art, c.1935
Alberto Morrocco and Joan Eardley sit outside Royal Scottish Academy after their election as RSAs, 1962 © The Scotsman Publications Ltd.
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His final show with The Scottish Gallery was also on the occasion of the Edinburgh Festival in 1996 and in his introduction Prof. John Morrison identified the three dominant subjects: clowns, still life and beaches. He notes how the three are not distinct: a harlequin figure stands by a still life table, a circus tent sits on a beach so that “… the life of the circus invades and colludes in the generation of a vibrant, exuberant celebration of the good things in life.” And later “The ordinary, a boy eating a watermelon or showing off his fresh-caught fish is transformed into luxury, calm and voluptuous pleasure. It is this frank revelling in pleasure which gives the paintings their power. They have a tactile, physical sensuality which glorifies in the diversity and bounty of the world.” Morrison produces an eloquent discourse on the relationship between seen reality and picture making and finishes with Paul Klee’s quote “Art does not reproduce what we see. It makes us see.”
At the end, he perhaps felt an urgency and that he had earned the liberty to work ‘alla prima’, his mind’s eye filled with a thousand sketches, brimming with ideas and variations on his favourite, lifelong themes. Today his work is prized in many collections and we are fortunate to be able to include some significant works for the collection of the late Jake and Fiona Eberts, his most prolific collectors and work from every period of his long, productive life. No reappraisal is necessary today and in front of the work his presence is intensely felt, but we are delighted and privileged to celebrate his centenary exhibition for the festival audience it deserves. Guy Peploe, 2017
Alberto Morrocco in his studio, 1996. Photograph by Chris Close
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Morrocco produced several domestic interior compositions featuring Vera and the children (Laurie and Leon in particular; Lisa arrived a little later). These charming works owe a debt to the French Intimisme of Bonnard and Vuillard both in subject and handling but are also early examples of the artist’s lifelong interest in how casual observation, whether in the home or on an Italian beach, is legitimate and fecund subject matter for painting.
1 Supper in the Kitchen, c.1952
oil on board, 91.5 Ă— 66 cms signed top left Exhibited: Alberto Morrocco, Retrospective, Dundee Art Galleries, 1993, cat.25; Alberto Morrocco, Thackeray Gallery, London, 2002; Modern Masters III, The Scottish Gallery, Edinburgh, 2014, cat.14 Provenance: Private collection, Canada Illustrated: Alberto Morrocco by Victoria Keller and Clara Young, Mainstream Publishing, 1993, pl.16
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It was in the 1950s that Morrocco began to visit Spain and Italy, painting at Rosas in 1953 and Anticoli, near Rome in 1955. He also painted the beaches of Aberdeenshire and Kincardineshire on family outings in the summers.
2 Beach with White Tower, c.1957
oil on canvas, 53 Ă— 67 cms signed top right Provenance: Private collection, County Durham
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3 Wet Nurse II, c.1958
oil on canvas, 39.5 Ă— 30.5 cms signed top right Provenance: The Scottish Gallery, Edinburgh; Private collection, Scottish Borders
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I like painting the good things in life, things I like and enjoy. Matisse is an example of a serious painter who didn’t paint so-called serious subjects so I’m happy to follow that attitude. I enjoy still lifes, for example, but some people decry them as ‘a few objects on a table, what’s exciting about that?’. Well, Cézanne spent his whole life producing them. Alberto Morrocco, 1997
4 Table with Flowers and
Cézanne Book, c.1959 oil on canvas, 28 × 35.8 cms signed top left Provenance: Private collection, County Durham
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The Sicilian Cart is an important painting which looks forward to much future work in terms of texture, pattern and character. Morrocco had an unerring eye for the charming and incidental: here a boy on the back of the cart leading the donkey, sits half concealed. The motif of the ‘ave’ appearing on a wall will recur many times.
5 The Sicilian Cart, c.1960
Provenance:
oil on board, 56 × 85 cms signed top right
Collection of Roy and Mairi
Exhibited:
Illustrated:
Portrait of a Gallery, The Scottish
Alberto Morrocco by Victoria Keller
Gallery, Edinburgh, 2017, cat. 39
and Clara Young, Mainstream
Rankin, Edinburgh.
Publishing,1993, pl. 31
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lberto painted as A an Italian operatic tenor sings that is with a passionate theatricality and always ‘con brio’. David McClure, 1990
Alberto Morrocco’s studio, photographed in 2007
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Morrocco’s earlier still life has a deceptive rustic or domestic simplicity but typically represents a level of sophistication of composition he shares with Cézanne.
6 Still life with Flowers and Blue Cloth, c.1962
oil on canvas, 55 × 45 cms signed top right Provenance: Private collection, County Durham
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owl of Fruit, c.1962 B monotype, 13 Ă— 18 cms signed with initials lower right Provenance: David McClure and thence by descent
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8 Cornucopia, c.1962
mixed media, 15 Ă— 20 cms Provenance: David McClure and thence by descent
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Like the Dutch Masters, Manet or early Peploe Morrocco uses an essentially tonal construction, enlivened with brilliant colour notes, here supplied with the three oranges.
9 Still Life with Three Oranges, c.1965
oil on canvas, 46 Ă— 57.5 cms signed top left Provenance: Private collection, Edinburgh
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Morrocco used the huge resource of his sketchbooks and his ability to recall a place and time to return to his subject. He was in Rosas in 1952/3 and here 20 or so years later recreates the heat of southern Spain with swift, deft marks.
Farmhouse at Rosas, 1971 10 oil on canvas, 60 Ă— 74 cms signed and dated lower right
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11 Boy at a Window, c.1973
mixed media, 19 × 24 cms Provenance: David McClure and thence by descent
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12 Bird Seller, c.1973
oil on board, 28 × 20 cms signed and inscribed with title artist’s label verso Exhibited: The Scottish Gallery, Edinburgh, 1973, cat.51
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The Tay Bridge from Newport provides the opposite view from that south east from the Morrocco home at Binrock. Typically in Morrocco landscape decisive drawing of architecture combines with a lyrical Impressionism.
13 Tay Bridge from Newport, c.1975
oil on canvas, 46.5 Ă— 56 cms signed lower right
he life of the circus T invades and colludes in the generation of a vibrant, exuberant celebration of the good things in life. Prof. John Morrison, 1996
Alberto Morrocco’s studio, photographed in 2007
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Pumpkin and Cactus is an essay in circles and parabolas, pattern and texture. Shortly the watermelon will replace the pumpkin, here supplying such splendid colour and shape to anchor the composition.
14 Pumpkin and Cactus, 1985
oil on canvas, 54.6 Ă— 57.2 cms signed and dated top right Provenance: Thackery Gallery, London, 1986; Private collection, London
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The cat, taking an intense interest in the fish, may not have been in the original plan for the still life but has arrived and supplied a narrative element so often present in a Morrocco painting.
15 Still Life with Black Cat, 1985
oil on canvas, 61.5 Ă— 91.5 cms signed and dated top right
Exhibited: Thackeray Gallery, London, 1988 Provenance: Private collection, Canada
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I have painted still life off and on throughout my career but I really started concentrating on it about fifteen years ago… I became much more conscious of the formal values that a still life can actually give freedom for – so that I began to look at still life from this point of view, not simply depicting a few apples or oranges or a couple of jugs and so forth, as a kind of theme – but simply the relationship of the shape of a jug to the shape of a compote or the shape of a pear or the colour of a few objects on a white tablecloth against something in the background. You can actually use the shapes within a still life just as you would in any abstract because they don’t necessarily have to tell any story – apart from their own existence. From that point of view I think it’s very valuable part of any contemporary artist’s work, if he or she is a figurative painter. Alberto Morrocco, 1997
16 Still Life with Indian Tapestry, 1986
oil on canvas, 86 × 95.5 cms signed and dated top left Exhibited: Thackeray Gallery, London, 1986 Provenance: Private collection, Canada
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Woman with Fishing Basket, 1987 17 oil on board, 26 Ă— 19.5 cms signed and dated lower left Provenance: Cyril Gerber Fine Art, Glasgow; Carnegie Dunfermline Trust, Perth
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Four simple elements occupy the artist’s beach view of sky, sea and sand: the patterned beach ball, derigable and shadow and the dog, staring at the goings in the bathing tent. The artist’s enigmatic narrative adds a surreal atmosphere to his paintings.
18 The Beach Tent, c.1987
oil on board, 54 × 53 cms signed lower right Exhibited: Thackeray Gallery, London, 1987 Provenance: Private collection, Canada
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Woman Ironing, 1988 oil on board, 21 Ă— 25 cms signed and dated top right Provenance: Private collection, Selkirk
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Three Women by the Sea, 1989 20 pastel, 24 Ă— 31 cms signed and dated lower left Provenance: Private collection, Selkirk
He is a man of Mediterranean blues and though he spends most of his time out of the heat, at home in Scotland, his recent work is full of it. Alice Bain, 1987
Alberto Morrocco’s studio, photographed in 2007
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These subjects that I used to see in Italy, which you don’t see here – the human figure related to something that’s happening either in their work or whatever. I mean, they live out of doors, so that one is able to use the human figure on beaches to begin with – almost the nude figures in all kinds of attitudes in relation to the eternal sea, the strip of blue or green that’s in front against the sky; the abstraction of this strip of sand, this strip of sea and strip of sky in varying proportions splitting the canvas into three sections and then intervening, linking it, knitting a pattern through it with figures intrigues me a lot. Alberto Morrocco in conversation with Clara Young, March 1993
21 Three Women by the Sea, 1988
oil on canvas, 56 × 60.5 cms signed and dated lower right
Exhibited: Thackeray Gallery, London, 1988 Provenance: Private collection, Canada
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22 Nude Girl and Teasels, c.1989
pastel, 47.5 Ă— 41.25 cms signed top right Exhibited: Alberto Morrocco, Drawings, Pastels and Watercolours, The Scottish Gallery, Edinburgh, 1989, cat.28 Provenance: Private collection, London
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23 Men Washing Mules on the Beach,
Cefalu, 1992 oil on canvas, 76 Ă— 76 cms signed and dated lower right
Exhibited: Thackeray Gallery, London, 1993 Provenance: Private collection, Canada
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Hammamet is the most popular resort on the Tunisian coast, located on a wide bay of the same name. The Morroccos visited around 1984 and Alberto made several exotic interiors with the female figure in both watercolour and oil. Once again this subject will have come from a sketchbook and records a deceptively simple scene: an Arab woman with black umbrella against the midday sun, black cat, eyeing up the shelter of an interior through a doorway at the end of the short street, palm tree and single, defiant cloud. His unerring sense of design combines with gentle humour to make a memorable image.
Street in Hammamet, 1994 24 oil on canvas, 61 Ă— 56 cms signed and dated lower right Exhibited: Alberto Morrocco, Thackeray Gallery, London, 1995; Modern Masters III, The Scottish Gallery, Edinburgh, 2014, cat.27 Provenance: Private collection, Canada
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The horse is untethered from the trap, and feeding happily in the shade of a grove of plane trees. An intense blue sea is beyond while the only sign of the gypsies is a man, partially obscured by a tree, also at rest. Like so much of his work in oils the picture refers back through sketchbooks to experiences and observations that seem tied to a bygone era.
Gypsy Encampment, 25 Gitano, 1994 oil on board, 35 Ă— 61.5 cms signed and dated lower right Exhibited: Modern Masters III, The Scottish Gallery, Edinburgh, 2014, cat.19 Provenance: Private collection, Canada
The ordinary, a boy eating a watermelon or showing off his fresh-caught fish is transformed into luxury, calm and voluptuous pleasure. Prof. John Morrison, 1996
Alberto Morrocco’s studio, photographed in 2007
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I first started going regularly to Italy in the early 1950s and making lots and lots of sketchbook drawings. I used to walk around the streets and anything that caught my eye which I reacted to I just drew ... I used to see things like melon-sellers which is a favourite subject I have used quite often. One used to see in Rome in particular in front of the station – the Termini – two or three of these melon-sellers with great blocks of ice and melons on top. I am a great lover of melon in the first place – I like the fruit to eat – I broke the record: I ate fourteen slices in one night, one very hot night in Rome… because I’m of Italian origin and I react to the kind of lifestyle naturally, these subjects I’ve chosen to paint are the subject which are near to my heart. Alberto Morrocco in conversation with Clara Young, March 1993
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T he Melon Seller, 1995 oil on canvas, 38 × 51 cms signed and dated top right Provenance: Panter and Hall, London; Private collection, Cumbria
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In the last decade of his life Morrocco painted a direct outpouring of work, letting the brush lead the way, combining many of his lifelong motifs using a brilliant palette radiating charm.
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oman in the Window with Dove, 1995 W oil on canvas, 76 Ă— 63.5 cms signed and dated lower right Exhibited: Alberto Morrocco, Thackeray Gallery, London, 1995 Provenance: Private collection, Canada
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28 Melon Seller and Bather, 1996
oil on board, 45 Ă— 60 cms signed and dated lower left Exhibited: Alberto Morrocco, New Paintings, The Scottish Gallery, Edinburgh, 1996, cat.35
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Morrocco had a thorough, academic training and drew constantly. In the earlier paintings his oils were carefully prepared with drawing. In the nineties he used the huge resource of his sketchbooks for compositional and subject ideas and increasingly painted directly, letting the work fulfil its own potential, so honed were his decorative instincts. His home was a huge treasure trove of objects, fabrics, furniture, props and ceramics and he worked tirelessly and urgently in the last years of his life making some of his most charming and enduring images and arriving at his full potential as a colourist.
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Still Life, 1997 oil on canvas, 85 Ă— 80 cms signed and dated lower right Provenance: Private Collection, London
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Alberto Morrocco
OBE RSA FRSE RSW RP RGI LLD (1917–1998) 1917
1932 – 38
1938 – 39
Born in Aberdeen, of Italian parents Studied at Gray’s School of Art, Aberdeen Awarded Brough and Carnegie Travelling Scholarship Assisted Robert Sivell on the murals for the University of Aberdeen Students’ Union
1952
First Trip to Spain
1957
Awarded Medaglia d’oro, San Vito, Italy
1960
Birth of daughter, Anna Lisa
1962
Elected member of Royal Scottish Academy
1962– 64
Studied and travelled in France and Switzerland Exhibited at the Royal Scottish Academy for the first time 1939
Painted mural for St Columba’s Church, GLENROTHES
1964– 66
Painted two murals for Liff Hospital, DUNDEE
1965 Elected 1940 – 46 1941
Marriage to Vera Mercer
1942
Birth of first child, Leon
1943
Guthrie Award, Royal Scottish Academy
1946 – 49
Member of Royal Scottish Society of Painters in Watercolour
Army Service
Taught part-time, Gray’s School of Art, ABERDEEN
Founder member of Aberdeen’s 47 Group Birth of second son, Laurie 1947 – 49 Illustrated Lockhart’s Anatomy with R.W. Mathews, Gordon S. Cameron, Donald J. Stephen and William Cruikshank (published by Faber & Faber, 1959) 1947
1973
Visit to Venice in winter, making studies for ‘proposed portrait of the city’
1974
Tour of America art schools and collections
Elected member of Royal Society of Portrait Painters
1975
1977
Elected Member of Royal Glasgow Institute
1980
Honorary Doctorate, University of Dundee
1984
Trip to Tunisia
1986
Trip to China
1987
Honorary Doctorate, University of Stirling
1993
Received OBE
1998
Died in Dundee
trip to Italy after the War, to finish travelling scholarship
1950 First
1950 – 82
1951
Head of Painting, Duncan of Jordanstone College of Art, DUNDEE
Elected Associate of Royal Scottish Academy
Alberto Morrocco in his studio, c.1987. Photo by Alex Coupar
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Selected Solo Exhibitions 1949 British Council Gallery, ABERDEEN
1974 Lamp of Lothian Gallery,
1983 Thackeray Gallery, LONDON
1955 Roseangle Gallery, DUNDEE
HADDINGTON
1989 The Scottish Gallery, EDINBURGH
1957 The Scottish Gallery, EDINBURGH
1976 Loomshop Gallery, LOWER LARGO
1990 Thackeray Gallery, LONDON
1962 Saltire Society Gallery, EDINBRUGH
1978 Guest Artist, DUNDEE ART SOCIETY
1990 The Scottish Gallery, EDINBURGH
1966 University of Dundee 1969 Compass Gallery, GLASGOW 1969 University of Strathclyde, GLASGOW 1971 Loomshop Gallery, LOWER LARGO 1973 Roseangle Gallery, DUNDEE 1973 The Scottish Gallery, EDINBURGH
BIENNIAL, DUNDEE CITY ART GALLERY
1978 Stirling Gallery 1980 Thackeray Gallery, LONDON 1981 Retrospective, Artspace Gallery, ABERDEEN
1981 The English Speaking Union Gallery, EDINBURGH
1992 Thackeray Gallery, LONDON 1993 Major Retrospective Exhibition, Dundee Art Galleries and Museums, touring to Aberdeen Art Gallery, Edinburgh City Art Centre and the Lillie Art Gallery, MILNGAVIE
1982 The Macaulay Gallery, STENTON
2017 The Scottish Gallery, EDINBURGH
Aberdeen Art Gallery and Museums
Institute of Ophthalmology, LONDON
Royal Scottish Academy, EDINBURGH
Arbroath Art Gallery
Jerwood Gallery, HASTINGS
Tayside House, DUNDEE
Bristol City Art Gallery
Kirkcaldy Art Gallery and Museum
The Ruth Borchard Collection, LONDON
Clackmannanshire Council Museum and Heritage Service
Lillie Art Gallery, MILNGAVIE
The Scotsman Newspaper, EDINBURGH
Manchester Metropolitan University
The Stewartry Museum, KIRKCUDBRIGHT
Selected Public Collections
County Hall, HERTFORD
McLean Museum and Art Gallery,
Ulster Museum
Dundee Art Galleries and Museums
GREENOCK
University of Aberdeen
Edinburgh City Art Centre
National Galleries of Scotland,
Fleming Collection, LONDON
EDINBURGH
Glasgow Art Galleries and Museums
National Trust for Scotland
Gracefield Arts Centre, DUMFRIES
Paisley Museum and Art Gallery
Hawick Museum, SCOTTISH BORDERS
Perth Museum and Art Gallery
Heriot Watt University, EDINBURGH
Newark and Sherwood Museums, NEWARK
Icelandic Government Collection,
Robert Gordon University, ABERDEEN
REYKJAVIK
Royal College of Physicians and Surgeons of Glasgow
University of Dundee University of Edinburgh University of Glasgow University of Leicester University of St Andrews University of Stirling
Published by The Scottish Gallery to coincide with the exhibition: ALBERTO MORROCCO CENTENARY EXHIBITION from 3rd August — 2nd September 2017
Acknowledgements The Scottish Gallery would like to thank John McKenzie for his help with the exhibition. Our thanks also to the Morrocco family. Studio photographs on pages 1, 19, 33, 47, 59, 72 were used with the kind permission of John McKenzie and the Fine Art Society. All other photographs, unless otherwise stated were reproduced from Alberto Morrocco by Victoria Keller and Clara Young, Mainstream Publishing, 1993
ISBN: 978 910267 65 3 Designed by Sigrid Schmeisser Printed by Barr Printers Photography by John McKenzie and William Van Esland
16 Dundas Street, Edinburgh EH3 6HZ | +44 (0) 131 558 1200 mail@scottish-gallery.co.uk | www.scottish-gallery.co.uk
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