Edward Atkinson Hornel (5)

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In 1886 Hornel and Henry worked together in Kirkcudbright, where Hornel remained, avoiding the art establishment in Glasgow and Edinburgh. Hornel had seen the mosaic-like pictures of Monticelli at the 1886 Edinburgh International Exhibition and his own work was made up of flattened, decorative areas of colour, with little depth and no distant horizons. He painted figures, often in woods. In 1890 Henry and Hornel collaborated on The Druids, a painting in which the decorative elements of incised gesso and overlaid gold co-exist with Celtic mythology, which fascinated Hornel at this time. A further co-operative effort resulted in The Star in the East (1891). Hornel’s work was already showing a Japanese influence when in February 1893 he set off for Japan with George Henry, financially supported by Galleries owner Alexander Reid and philanthropist William Burrell.

In a Japanese Garden

E. A. Hornel and George Henry, The Druids Bringing in the Mistletoe 1890

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Hornel produced some of his finest oils during the 19 month-long visit, successfully balancing his feeling for decorative work with figurative drawing and composition. An exhibition of his Japanese works held in Glasgow was a success, but he nevertheless returned to Kirkcudbright to paint children in fancy dress, figures in flower-decked woods, autumnal forests and flowers, and girls by the sea. The 1890s saw Hornel at his most artistically successful, but after 1910 a certain reputation and lack of consistency crept in with a resultant lowering of standards.

Japanese Garden-1923

The lotus flower

Geishas in a Japanese Garden


Two Geisha Girls 1894

Burma Beauties-1907

He visited Ceylon in 1907, and Burma in 1918 but this did not have the same inspirational effect as Japan. He was commercially successful and purchased a fine 18th century townhouse in Kirkcudbright before the First World War for £400 with the sale of just one painting. He bequeathed Broughton House and the contents of his studio to the town, and it is now the Hornel Museum managed by the National Trust, with a fascinating Japanese Garden. His work was much in demand and he died a wealthy man. In 1901 he was elected ARSA but declined the honour. He died in Kirkcudbright.



Glasgow School

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Edward Atkinson Hornel (4)

Goatherds 1912

Gaggle of Geese-1916

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Homewards-1909

Two girls amongst blossoms c.1910

Listeners in the Woods-1918

Gathering Flowers by the Seashore- 1919

Summer's Day-1928

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Lily Pond

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Wonderment-1906

Spring Roundelay-1910

The Earth's Awakening-1912

Spring Time - 1916

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Blossom Tide, Brighouse Bay-1906

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Music of the Woods

Captive Butterfly

Сaptive-1908

Seashore Roses

The vast number of these depictions of young girls chasing butterflies or playing amongst flowers have sadly tended to overshadow the significance of the artistic achievements of his earlier career. He has been described as one of Scotland’s most brilliant colourists and is widely acknowledged as a key member of the Glasgow Boys.

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Edward Atkinson Hornel - 1864-1933

Image courtesy of Don Kurtz

Портрет художника by Bessie MacNicol, 1896-из пред.поста


Gathering Primroses-1901


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"The Brook" 1891





Hornel allied himself with the Glasgow Boys in the mid 1880s. A modern work for its time, The Brook’s bright colours and textured surface show an interest in decorative forms and fl at patterns, matching contemporary developments in France, as well as the tradition of Japanese art.The foreground girl picking fruit is redolent of images of Eve and the Tree of Knowledge while the most distant figure, bathed in light, sits in contemplative profile. The painting is thought to symbolize innocence and experience, as well as choice, as shown by the two middle-ground figures, each attracted to one of the allegorical figures, and in the process of deciding which one to follow. The picture's first owner was the designer, J. Herbert McNair (1868-1955).


"Mine Own Back Garden" 1887 oil on canvas
Kirkcudbright, Galloway




Artist Biography

From Wikipedia-Edward Atkinson Hornel

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Bessie MacNicol (4)

E.A. Hornel, Bessie MacNicol, 1896,
oil on canvas. painted in Hornel's studio.
Japanese kakemono in the background.

Visited Kirkcudbright in 1896 where she was influenced by Hornel as seen in the portrait, which she painted of him in his studio.

This portrait was exhibited at the Glasgow Institute, 1897.





"Bessie writing to Hornel about the portrait:

'I had David Gauld up seeing your portrait. He said he wished I had painted it in greys and purples. Also, wanted me to take out the palette & to paint the coat a grey black. Of course that is quite another story - at least Gauld's way of telling the story.'
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MacNicol's personality has been described as fun-loving, full of life and high spirits. In another letter to Hornel, she writes:

'John Keppie came up to see me the day after I returned from Kirkcudbright, & was inviting me to go for a cycle run with him. I have got a new kind of cycling skirt, which is divided, so far up, but is just like a walking skirt when I am standing. I put the Mater into fits when I was in the shop buying it, by dancing a hornpipe behind the woman's back. They are like wide Jack Tar 'bags'. I am getting on splendidly & am quite a scorcher. I have not gone more than 10 miles but can pass machines & people without running them down for certain.'

Though she died young, in less than 12 years Bessie exhibited in Scotland, London, Ghent, Munich, Dresden, Vienna, St Petersburg, Pittsburg, and St Louis. There's a self-portrait of Bessie MacNicol at Glasgow Museums and Galleries.

The most important woman artist in Glasgow at the turn of the last century, she was the eldest of twin girls born on 15th July 1869. She first attended the Glasgow School of Art at the age of 18 in 1887, and in 1896 acquired her own studio at 175 St Vincent Street. She married a gynaecologist turned painter and died on the 4th June 1904 at the age of 34. She was pregnant with her first child and her husband seems to have attended and signed the death certificate. He survived her by only a few years, marrying a young singer months before his own death. His wife remarried in November of the same year after selling the house and all Bessie and her husband's paintings. This may be one of the reasons why so little documentary evidence remains of Bessie's work and life. Apart from a few letters and photographs, there are no sketchbooks and no diaries. Her early death was considered a great loss to Scottish art, but typically for a woman artist she was almost forgotten decades later.


Information on Bessie from article by Ailsa Tanner in Glasgow Girls, edited by Jude Burkhauser." (c)




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