Little Quarry in Fife
By Joan Renton

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Year
1991
Media
Watercolour
Subject Matter
Landscape
Reg. Number
L67
Size
77.5 x 59 cm

The dark yellow, green and grey colours comprising the colour aspect of this painting are a hallmark for the perception of the main object - the quarry. What is notable is that people are missing from this landscape and this brings the sense of something unusual and worth exploring.

Nature with its seasons and many moods remain at the core of Joan's work. During her highly successful career as a painter she has changed from a representational style to one that is more abstract, as she continues to experiment with mood and light.

Joan Renton RSW was born in 1935 and attended the Dumfries Academy before studying at the Edinburgh College of Art from 1953 to 1957. In her early career she was introduced to the work of Anne Redpath and at ECA she studied under William Gillies, John Maxwell and Robin Philipson, all of whom became influences on her work. After graduating she received a travelling scholarship to Spain in 1959: on her return, she began teaching in schools before turning to painting full time in 1982. Her work has been exhibited in twenty four solo shows across Britain, including exhibitions at the Edinburgh Gallery, Open Eye Gallery and Sally Hunter Fine Art, in London. Her work has also been shown in international group exhibitions that include venues in France, Holland, Spain, Germany, Hong Kong and the United States. She has also been featured in national collections including The City of Edinburgh Art Centre, The Duke of Edinburgh’s collection and Yorkshire City Collection. Renton’s awards include the Royal Scottish Soceity of Watercolourists Betty Davis Award in 1992 and the Anne Redpath Award from the Scottish Artists and Artist Craftsmen, which she led from 1988 to 1991. She was elected to the RSW in 1974 and is a past Council member.

Renton’s style is typically more abstract than representational. She states that ‘although my paintings have their origins in nature, the influences of light and atmosphere are more important to me than realistic representation.’

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