Joan Eardley: ‘she would set up her canvas on the shore and paint in the lashing wind and rain like a woman possessed’

Joan Eardley was one of the most unique and celebrated artists of her generation, but the international acclaim and recognition that her work deserves eluded her. Her paintings are not only foundational in Scotland’s cultural history, but continue to influence its creative landscape, particularly with those concerning dialogue around community and the poetics of place.

Currently on view in the National Galleries Scotland: Modern Two until June 28, Joan Eardley: The Nature of Painting, explores this popular post-war artist’s relationship to her predecessors and contemporaries.

Joan Kathleen Harding Eardley was born to a Scottish mother and English father in Sussex in 1921, and studied at Blackheath School of Art in London for a year before moving with her mother and sister to Glasgow during the outbreak of the second world war in 1939. She continued her studies at Glasgow School of Art and Hospitalfield in Arbroath, known as Scotland’s first school of fine art.

It was during this time that she began to shape her preference for painting everyday subjects. She used an RSA Carnegie Travelling Scholarship to travel through Italy and France in 1948 and 1949. On her return to Glasgow she spent time drawing and painting the industrial landscape of Port Glasgow, and Gourock. Eardley rented a studio in the city centre of Glasgow, and a few years later moved to Townhead in the east end, where local children became her favourite artistic subjects.

More than 30 of Eardley’s artworks are juxtaposed at Modern Two alongside figures of international renown including Claude Monet, Marc Chagall, John Constable, Jean Dubuffet and Antoni Tàpies, together with her contemporaries Henry Moore, Bet Low and William McTaggart.

It places Eardley within an international art world which blends post-impressionism, social realism and abstraction. Jackson Pollok and the French Tachistes were known to have influenced her practice.

The exhibition is further enriched by a selection of archival and photographic materials containing a range of sketches, photographs and personal artefacts giving a glimpse into the life behind the artworks which are on display in the adjoining Keiller Library.

There are also several of her large works situated in Paolozzi’s Kitchen restaurant adjacent to the two exhibition spaces, alongside the likes of Scottish artist and contemporary Anne Redpath.

Connections with painters

The first exhibition space includes several of Eardley’s social-realist figure depictions of 1950s inner-city Glaswegian children. The works have a joyful, raw, playful spirit to them, in spite of the squalid slum environment the children were living in. No artist has painted Glasgow’s “weans” (a local word for children) in the way that Eardley has.

In Children and Chalked Wall No.3 (1962-63), sisters Mary and Pat Samson are painted in Eardley’s signature bold unsparing style, with their affectionate, endearing smiles, both huddled together. Their cheery faces, animated by Eardley’s blocks of colour, emerge from a background layered with graffiti and collage, anchoring her work in social reality.

Her work is surrounded by portraits by Rembrandt van Rijn, Jean-Francois Millet, Jean Dubuffet, Edward Hornel and Bet Low. Children and Chalked Wall No.3’s highly prized neighbour in the exhibition is Marc Chagall’s The Horse Rider (1949-53), a surreal gouache painted work with a block of azure-blue textured background with three figures and a horse, set within a Paris circus. Like Eardley’s work, it is also social-realist and figurative, with abstract elements incorporated within it. The female horse rider is a recurring theme for Chagall.

Eardley’s Street Kids (1949–51) captures a fleeting moment of camaraderie among three local boys. It is quiet and reflective, telling the stories of real Glasgow children who lived close to Eardley’s studio in Townhead, and captures the friendliness and community spirit that Eardley admired.

She does not shy away from the material conditions of post-war urban life, alluding to poverty, dirt and the presence of neglect. Again, colour is blocked in with minimum detail and repeating patterns of brickwork ground the piece. There is a respect of their resilience in her portraiture.

Exhibition space two is focused on Eardley’s relationship with Catterline, a small coastal village in the north east of Scotland near Stonehaven. In 1954, she bought a cottage to work there. Catterline’s rugged coastal landscapes and dynamic seascapes were central to many of Eardley’s paintings, providing the perfect stage setting for her expressive creativity to flourish.

Eardley worked between Glasgow and Catterline for several years and there are stories during that time of Eardley leaving Glasgow when she heard a storm was coming. Like tornado chasers, she travelled across the country to capture the coming storm’s power on the shore front where she would set up hardboard canvases to paint in its centre amid the lashing wind and rain like a woman possessed.

Her beautiful atmospheric painting Catterline in Winter (1963) set with a grey sky and full moon lighting up the snow-covered landscape is positioned next to Claude Monet’s Grainstacks: Snow Effect (1891). Both have an otherworldly sense about them, evoking a still and silent feeling of deep winter muffled by the frozen earth.

Eardley’s Summer Fields near Catterline (about 1961) with its expressive brushstrokes, shows stalks of corn in a bright golden cornfield set by a grey and black background is the highlight of the show.

She was elected an Academician of the Royal Scottish Academy of Art in 1963, just prior to her untimely passing from cancer later that year aged 42. Eardley’s ashes were scattered on the beach at Catterline, creating a lasting connection between the artist and the place which inspired her later works.

By situating her practice within a collaboration of artistic significance, the exhibition highlights the extent to which her work contributes to the central concerns of 20th-century painting. Not least the tension between representation and abstraction in her work and the enduring challenge of responding to the world, whether urban or elemental.

Joan Eardley: The Nature of Painting is on at the National Galleries Modern Two in Edinburgh until June 28

Blane Savage does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.