tsg pat douthwaite

PAT DOUTHWAITETHE OUTSIDER

16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected]

www.scottish-gallery.co.uk

Cover: Albino Peacocks from Eskdalemuir, 2000, oil on canvas, 180 x 120 cms (cat. 35) (detail)Left: Woman with a Terrapin, c.1966, oil on board, 120 x 120 cms (cat. 10) (detail)

PAT DOUTHWAITETHE OUTSIDER

1 – 25 JUNE 2016

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FOREWORD

Opposite: Portrait of Pat Douthwaite, by George Oliver, 1987

My mother would refer to herself as ‘The High Priestess of the grotesque’, which certainly says something about how she saw herself. My own memories oscillate between a mother, woman and a painter. There is no question that her work was the most important thing to her – she was relentlessly driven by a strong creative energy and produced an amazing quantity of paintings and drawings. Themes and ideas would seem to come from nowhere and quickly develop into a full-blown series of pictures, and fuelled with emotion she would work through the night, usually working on the floor, listening to records of classical music, jazz or film soundtracks, played loud. She admired ancient and tribal art, which could be a source of inspiration, as could animals, as subjects as well as companions – more like close friends, compensating for the lack of trust she generally had in people.

She loved travel (although she hated flying) and far-flung places were a source of subjects and inspiration. She was bright, articulate, funny and sometimes outrageous but could also be her own worst enemy, alienating people and passing up opportunities, and also making herself vulnerable. She met many of the leading artists of her time but they were often considered rivals and the contact severed. Theatricality was in her training and her personality and this, combined with the driven nature of her talent, made her an unusual, often misunderstood but utterly original artist.

Toby Hogarth, 2016

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FOREWORD

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Blindfold, 1965oil on board, 80 x 95 cms, oil on boardAcquired by the Scottish National Gallery of Modern Art, Edinburgh, 2013

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Hogey Bear, 1960oil on board, 120 x 133.5 cms, signed & dated lower leftAcquired by the Scottish National Gallery of Modern Art, Edinburgh, 2013

“Hogey Bear is a portrait of Douthwaite’s husband whose affectionate nickname gives the painting its title. She noted that this painting is also a partial self-portrait, which shows her pregnant with Toby. Douthwaite cited the French artist Jean Dubuffet as an early influence and in 1960 she saw his show The Men with Beards in Paris. She was captivated by the imagery in his work but said she was too naive to appreciate his technique. The impression that Dubuffet made on the artist is evident in this painting through the mottled and graphic approach.”Alice Strang, Modern Scottish Women: Painters & Sculptors 1885-1965, National Galleries Scotland, 2015, p.44

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PAT DOUTHWAITEBY GUY PEPLO E

This exhibition coincides with the publication of the first monograph of Pat Douthwaite by Guy Peploe, published by Sansom and Co. Pat Douthwaite is one of the most distinctive artists of the post-War period and this marks a significant milestone in the reappraisal of the artist who has recently been included in the Scottish National Gallery of Modern Art’s exhibition Modern Scottish Women: Painters and Sculptors 1885-1965.

The book uses several significant archives of previously unpublished letters and includes illustrations of previously unseen works. The book covers all periods and themes of this most enigmatic and powerful of artists.

Guy Peploe will give a public lecture on the artist at the Hawthornden Lecture Theatre, Royal Scottish Academy, on June 6th at 12.45. Please contact the RSA for more information. The Scottish Gallery will be holding a book signing on the 4th June, 11am-1pm, with Guy Peploe.

Book cost: £25

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PAT DOUTHWAITEBY GUY PEPLO E

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Pat Douthwaite, c.1958

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1950s

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1 Man Smiling, 1959monotype, 50 x 40 cmssigned lower right

ExhibitedPat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, ex.cat.

IllustratedGuy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 50

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2 Suffolk Landscape, Winter, 1959/60oil on board, 118.5 x 178.5 cmssigned and dated lower right, signed and inscribed with title on fragmented label verso

ExhibitedPat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 3


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Pat Douthwaite, 1969

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1960s

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3 Village Taxi, 1960-64oil on board, 90 x 120 cmssigned and dated lower right; inscribed with artist’s name verso


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4 Isn’t it Great?, 1960oil on board, 120 x 120 cmssigned on verso

ExhibitedDouthwaite - Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow and Peacock Printmakers, Aberdeen, 1988;Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001

IllustratedDouglas Hall and Cordelia Oliver, Douthwaite – Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow, 1988, p.21

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5 Don with Dog, 1962oil on board, 80 x 95 cmssigned upper left

ExhibitedPat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, ex. cat.


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6 The Family, 1963oil on canvas, 90 x 120 cmssigned and dated verso


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7 Collage, c.1965 mixed media and collage on board, 120.5 x 105.5 cmsunsigned

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8 Animal with Sharp Teeth, c.1965oil on board, 70 x 90 cmssigned on verso

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9 Woman with Red Hair, 1966oil on board, 150 x 150 cmssigned lower left, inscribed with artist’s name verso

Exhibited1st Edinburgh Open Exhibition, Richard Demarco Gallery, Edinburgh, 1967, cat. 41; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 5

ProvenanceThe Richard Demarco Gallery picture rental scheme


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10 Woman with a Terrapin, c.1966oil on board, 120 x 120cmsigned lower right

Exhibited1st Edinburgh Open Exhibition, Richard Demarco Gallery, Edinburgh, 1967, cat. 42; Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001


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11 The Gardners, 1967oil on board, 100 x 95 cmssigned and dated upper left

ExhibitedDouthwaite - Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow and Peacock Printmakers, Aberdeen, 1988; Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 7

IllustratedDouglas Hall and Cordelia Oliver, Douthwaite – Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow, 1988, p.15; Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 53

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12 Yellow Nude (Woman One), 1968oil on canvas, 121 x 121 cmssigned upper right


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1970s

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13 Listen to Me, 1970oil on canvas, 150 x 120 cmssigned and dated upper left

ExhibitedPat Douthwaite – Paintings and Works on Paper, The Scottish Gallery, Edinburgh, 2011


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14 Skeleton with a Baby, 1971 [Sexy Skeleton Series] oil on canvas, 158.5 x 111 cmssigned and dated lower left



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15 Large Head Against Orange Background, 1972oil on canvas, 150 x 120 cmssigned and dated upper right

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16 Yellow Hair, 1973oil on canvas, 140 x 142.5 cmssigned lower left, signed and dated verso



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17 Jason in Flight, 1976 (Amy Johnson Series)oil on canvas, 120 x 120 cmssigned and dated upper right

ExhibitedAmy Johnson aviator, Pat Douthwaite, The Scottish Gallery, Edinburgh, 1977, cat. 10; Douthwaite - Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow and Peacock Printmakers, Aberdeen, 1988, Pat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, 2005, cat. 14; Pat Douthwaite – Paintings and Works on Paper, The Scottish Gallery, 2011

IllustratedDouglas Hall and Cordelia Oliver, Douthwaite – Paintings and Drawings 1951-1988, Third Eye Centre, Glasgow, 1988, p.10; Guy Peploe, Pat Douthwaite, Samson and Co., 2016, plate 59

On the fifth of May 1930, Amy Johnson set out in her de Havilland Gypsy Moth G-AAAH which she called Jason on her epic solo flight to Australia. The painting depicts the aircraft in flight against the dun coloured, featureless landscape which might be the artist’s idea of the Australian Outback. The plane’s number is writ large in the sky, like a cry of danger or sheer joy, the essence of the spirit of adventure which Douthwaite equated directly with her own actions as a painter.

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18 Lord Wakefield, 1977charcoal, 75 x 55 cmssigned and dated upper right, titled lower left

ExhibitedPat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 7


The only possible link we can find between Douthwaite and Lord Wakefield is historical. The Castrol Oil Company, founded by Lord Wakefield (1859-1941) helped to fund Amy Johnson’s solo flying career which culminated with her journey to Australia in 1930 and Douthwaite, fascinated by all aspects of her life as she prepared her Amy Johnson exhibition in 1977, must have made an image of the industrialist patron.

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19 Toby and Cat, 1978pastel, 73.5 x 53 cmssigned and dated upper left

ExhibitedPat Douthwaite: An Uncompromising Vision, Pallant House Gallery, Chichester, 2012-2013; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 8


The cool presence of her eighteen year old son Toby, in square shades and long blond hair, is affectionate and touching. Douthwaite must have seen in her son her own early likeness but the portrait is an unmistakable likeness (as her portraits of real people always were) to which she has added the characterful presence of a family cat.

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1980s, 1990s, 2000s

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20 Woman in a Fur Coat, 1981oil on canvas, 141 x 143 cmssigned and dated upper left

ExhibitedPat Douthwaite Retrospective, The Scottish Gallery at Art London, 2001; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 16


The female figure is a self-portrait accompanied by a death figure, who seems more like a companion than the grim reaper. Both figures are relaxed, as if observed in a waiting room suffused with a dirty yellow light with a comically bent palm tree lending an exotic presence. Death references occur throughout the artist’s oeuvre but are seldom sinister, more often in the form of animated skeletal players in a pageant of life and death in which both must be present but the living unafraid.

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21 Mr Henry Dooley, 1982oil on canvas, 100 x 123.5 cmssigned and dated lower left



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22 Dooley, 1983pastel, 75 x 54 cmssigned, titled and dated upper right


letter to Henry Dooley c.1988 Pat and Dooley c.1985

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23 Black Rose for Rodin, 1983acrylic on canvas, 142.5 x 140 cmssigned and dated upper right

ExhibitedYorkshire Contemporary Art Group and St Paul’s Gallery, Leeds; Postern Gate Gallery, Hull, 1984-85; Pat Douthwaite Retrospective, The Scottish Gallery, Edinburgh June 2000, cat. 18

ProvenancePrivate Collection, Edinburgh

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24 An Indian Man I, 1985pastel, 57.5 x 78.5 cmssigned and dated upper right

ExhibitedPat Douthwaite Retrospective, The Scottish Gallery, Edinburgh June 2000; Pat Douthwaite, The Scottish Gallery at Art London, June 2001; Pat Douthwaite – Paintings and Works on Paper, The Scottish Gallery, Edinburgh, 2011; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 13

“From 1959-1988 Pat Douthwaite travelled widely to North Africa, India, Peru, Venezuela, Europe, U.S.A., Kashmir, Nepal, Pakistan, Ecuador and from 1969 to 1974 she lived part of the time in Majorca with her husband Paul Hogarth. This drawing was presumably created following one of her trips to the Indian subcontinent. In 1986 Douthwaite had an exhibition at the Saddler Gallery, Durham City with the quirky title, Yippee! I went to India.”Simon Martin, 2014

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25 Male Figure, 1987chalk on paper, 84 x 59.5 cmssigned and dated lower left

This drawing is one of several similar and is a portrait of Paul Hogarth with his distinctive tufts of hair and round head. Here a thin, frayed cord is tied around his neck, its other end at the top of the sheet suggesting that he has survived a hanging.

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26 Bad Hair Day, c.1988pastel and collage, 65.5 x 50 cmsunsigned


“The critic Cordelia Oliver observed in 1988 that Douthwaite’s work was ‘Female – not feminine – to the core, baring teeth and claws in defence of her offspring (and by that I mean her often highly maligned paintings and drawings) she has made herself almost her sole subject, painting not as she appears in the mirror but, as it were, from the inside out, from painful firsthand knowledge of her physical and psychological makeup, of her essential needs, frustrations, rages and occasional ecstasies.’” Simon Martin, 2014

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27 Bull, (“Large Dog”), 1988pastel, 76.5 x 51.5 cmssigned and dated upper right

ExhibitedPat Douthwaite Retrospective, The Scottish Gallery, Edinburgh, June 2000; Pat Douthwaite, The Scottish Gallery at Art London, June 2001; Pat Douthwaite: An Uncompromising Vision, Pallant House Gallery, Chichester, 2012-2013; Pat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 14

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28 Whitby Yacht, 1990pastel, 69 x 48 cmssigned, titled and dated upper right

ExhibitedPat Douthwaite: An Uncompromising Vision, Part 1: Works on Paper, The Scottish Gallery, Edinburgh, July 2014, cat. 18

Whitby Yacht seems an unlikely subject for Douthwaite but as with so much that she drew and painted the origin was in real observation while the image is appropriated, becoming entirely her own, exploited for her own comic, decorative or tragic-comic purpose. Whitby was also one of Pat’s many temporary addresses, so this makes for a brief memento of her stay there.

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29 Stripper Cockerel, 1990charcoal and pastel, 82 x 58 cmssigned, dated and titled lower left


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30 Italian Cat and Dead Bird, 1994pastel, 50 x 70 cms signed, titled and dated upper right; pastel drawing verso


From her 1979 catalogue Egyptian Queen – Drawings of Cats: “Those who have become acquainted with Pat Douthwaite’s often macabre subject matter, described in a distorted and expressionist manner might be surprised to find that she has recently become obsessed by that most domestic of animals, the cat. But in her hands the creature is devoid of any tameness – a bizarre and unsettling presence.”

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31 Big Mother, 1994lithograph, 48 x 38 cms, edition 19 of 60signed and dated lower right


This rare lithograph was produced for the Child Psychotherapy Trust in a simple, elegant design depicting a reassuring female presence.

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32 In a Gwen John Hat, 1995watercolour, 76 x 57 cmssigned and dated lower left

ExhibitedPat Douthwaite – Works on Paper, 1993-95, The Scottish Gallery, Edinburgh, 1995, cat. 8; Pat Douthwaite – Memorial Exhibition, The Scottish Gallery, Edinburgh, 2005, cat. 36


ProvenancePrivate collection, Edinburgh

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33 Lady and Green Gloves, 1995watercolour, 76 x 56 cmssigned ‘Pat Hogarth’ and dated upper left

ExhibitedPat Douthwaite – Works on Paper, 1993-95, The Scottish Gallery, Edinburgh, 1995, cat. 3

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34 Orcadian Landscape, 1999watercolour, 61 x 46 cmssigned and dated lower right

The artist made several watercolours of a striated Orkney, land and sky, some with birds, all deeply evocative of place and true to the moment.

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35 Albino Peacocks from Eskdalemuir, 2000oil on canvas, 180 x 120 cmssigned and dated upper right

IllustratedGuy Peploe, Pat Douthwaite, Samson and Co. 2016, plate 36


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36 Albino Peacocks from Eskdalemuir II, 2000oil on canvas, 180 x 120 cmssigned and dated upper right

IllustratedGuy Peploe, Pat Douthwaite, Samson and Co. 2016, plate 37


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PAT DOUTHWAITE1934-20021934 Born, Glasgow. Scots mother, half English/German

father. From the age of four, possibly earlier, Pat showed no

interest in her sibling brothers. Her mother had been a hat designer prior to her marriage and Pat liked to fantasise with her mother’s hat veils/feathers/jewellery and high pointed shredded pink silk dancing shoes and face make-up. She only played this particular game of ‘child theatre’ wandering about the long garden dressed in old gauze curtains wheeling a doll’s pram – no interest in dolls or toys as such only wheeling the old kinder machine with kittens in it, tucked in with old blankets.

1944 School. Slapped for being left-handed thus refused to learn to write.

1947 Began to study movement, mime and modern dance with Margaret Morris, whose husband, J. D. Fergusson, encouraged her to paint. Apart from this important influence she was self-taught. During this period she won the Phyllis Calvert Award for Mime which allowed her to study full-time with Margaret Morris. Finally performing with Ted Shawn at Jacob’s Pillow, Mass., U.S.A., in 1956.

1958 Went to live in Suffolk with a group of painters, including the Scots expatriates Colquhoun and MacBryde, and William Crozier. She met Paul Hogarth her future husband. Life in Suffolk was lived on the edge of poverty supported with a stipend of £2 a week and she and the others experimented with amphetamine drug Preludin – later banned.

1960 Married Paul Hogarth and had son, Toby. Spent time in Cambridge and Soho.

1959-88 Travelled widely, to North Africa, India, Peru, Venezuela, Poland, East Germany, Romania, Hungary, Bulgaria, France, Italy, U.S.A., Kashmir, Nepal, Pakistan, Ecuador. From 1969 lived part of the time in Majorca.

1974 Hope Scott Award for Lithography. A German sponsor, Axel Ball, gave her the freedom

to live and work in Germany. There she met Professor Doctor Werner Schmalenbach. He introduced her to Brockstedt and Galerie Levi in Hamburg and she lived there for one year.

1975-76 Scottish Arts Council Awards.1975 Created multi-media performance work, Inanna,

with the financial support of the SAC and the Gulbenkian Foundation. Inanna was performed at the Traverse Theatre during the 1975 Edinburgh International Festival and later at Third Eye Centre, Glasgow.

1976 Royal College of Art retrospective.1977 Amy Johnston exhibition, The Scottish Gallery.1985 Took part in TV documentary, The Lunch Party

BBC 1 with Liz Lochead.1999-2002 Lived in various properties in the south west of

Scotland including time at the Samye Ling Tibetan Centre, Eskdalemuir.

2002 Died, Broughty Ferry.

Selected Group Shows

Ten Young Painters, Redfern Gallery Fantasy and Figuration, ICA: Spectrum, SAC and ACGBNew Tendencies, Richard Demarco Gallery New Directions, Richard Demarco Gallery Axiom GalleryDealers’ Choice, Pollack Gallery, TorontoSeven Scottish Artists, Third Eye Centre Painters in Parallel, Scottish Arts Council 3 Print Workshops, Fruitmarket Gallery, Edinburgh Contemporary Painting, Maine, U.S.A.Gimpel FilsTVSW Tour of BritainFreidus Gallery, New YorkGalerie d’Art, Chicago, U.S.A.The Athena Award Exhibition, Hayward Gallery, London Norma Tait and Friends, Drumcroon, Wigan The Scottish GalleryCorrymella Scott, Newcastle

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PAT DOUTHWAITE1934-2002

Solo Exhibitions

1958 57 Gallery, Edinburgh1963 Grabowski Gallery, London1965 ICA, London1966 Clare College, Cambridge1967 Mary Queen of Scots, Richard Demarco Gallery1968 Love Pictures, Richard Demarco Gallery1972-73 Charles Manson Trial and American Women Bandits,

University of Stirling and Richard Demarco Gallery at the Edinburgh Festival

1972 Serpentine Gallery, London1973 University of St. Andrews Sexy Skeletons, Hanover Gallery, London Salome in Drag, Richard Demarco Gallery and Motiv

Gallery, London1974 New German Drawings, Scottish Arts Council,

Edinburgh1975 Inanna, multi-media performance work at Traverse

Theatre, Edinburgh and Third Eye Centre, Glasgow1977 Amy Johnson, Aviator, The Scottish Gallery, Edinburgh

and Aberbach Gallery, London1979 Biomorphic Drawings and Ezra Pound ‘Cantos’,

369 Gallery, Edinburgh Biomorphic Drawings, Zenith Gallery, Washington D.C. 1979 Egyptian Queen – Drawings of Cats, 369 Gallery,

Edinburgh1980 Paintings and Drawings 1972-79, Talbot Rice Arts

Centre, Edinburgh University and subsequent SAC tour to Dundee, Stirling, Orkney, Hull, Leeds

1982 Edinburgh Festival: Worshipped Women, 26 drawings with introduction by Robert Graves, 369 Gallery, Edinburgh

1982-83 Retrospective at Royal College of Art, London and subsequent tour ending at York University

1983-84 12 paintings and 15 drawings, St. Paul’s Gallery, Leeds and the Postergate, Hull

1985 Indian and Polish Pictures, Richard Demarco Gallery at Edinburgh Festival

1986 Yippee! I went to India, Saddler Gallery, Durham City1988 Douthwaite: Paintings and Drawings 1951-1988,

Third Eye Centre, Glasgow, and subsequent tour1990 Guest Exhibitor, Royal Scottish Academy Art East,

Kings Lynn1991 William Jackson Gallery, London1993 Recent Work, The Scottish Gallery, Edinburgh1995 New Works on Paper, The Scottish Gallery, Edinburgh1998 Small Works on Paper, The Scottish Gallery, Edinburgh2000 Retrospective 1960-2000, The Scottish Gallery,

Edinburgh2005 A Memorial Exhibition, The Scottish Gallery, Edinburgh2011 Retrospective – Paintings & Works on Paper,

The Scottish Gallery, Edinburgh2012-13 Pat Douthwaite: An Uncompromising Vision,

Pallant House Gallery, Chichester2014 Pat Douthwaite: An Uncompromising Vision,

The Scottish Gallery, Edinburgh2016 Pat Douthwaite: The Outsider, The Scottish Gallery,

Edinburgh

Public Collections Include

Aberdeen Art Gallery, AberdeenScottish National Gallery of Modern Art, EdinburghCity Art Centre, EdinburghFerens Art Gallery, HullLeeds Education Authority, LeedsVictoria & Albert Museum, London Paisley Museum and Art GalleryUniversity of StirlingUniversity of St. AndrewsWakefield MuseumMuseum of Contemporary Art, Warsaw, Poland

Also in many private collections in the U.K., Europe and U.S.A.

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16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected]

Right: Woman with Red Hair, 1966, oil on board, 150 x 150 cms (cat. 9) (detail)Back cover: Albino Peacocks from Eskdalemuir II, 2000, oil on canvas, 180 x 120 cms (cat. 36) (detail)

Published by The Scottish Gallery to coincide with the exhibition Pat Douthwaite: The Outsider1 – 25 June 2016

Exhibition can be viewed online at www.scottish-gallery.co.uk/patdouthwaite

ISBN: 978-1-910267-37-0

Our thanks to Toby Hogarth, Simon Martin and Alice Strang who contributed to the catalogue.

Designed by www.kennethgray.co.ukPhotography by John McKenziePrinted 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.

tsg pat douthwaite

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