Edinburgh 1924

Editor: So here we have George Henry's "Edinburgh" from 1924, painted in oil. The first thing that strikes me is how...blue it all is! It's almost monochromatic, but not quite. What stands out to you in this piece? Curator: Blue, yes, you’ve hit on it! The cool wash, like a memory just out of reach, almost makes the city feel dreamlike, don’t you think? It’s Edinburgh, but rendered in a palette that steps away from reality, inviting us to consider it as more than just a cityscape. Editor: Definitely dreamlike. Is that a common thing for landscape paintings, to sort of...play with reality? Curator: Absolutely! The Scottish Colourists, which Henry belonged to, often used bold and expressive colour to convey a sense of atmosphere and emotion. It wasn't about a photographically accurate depiction, it was about the feeling of being there. What feeling do you get from this Edinburgh, tell me? Editor: I get a sense of calm, like a hazy summer day. But I can see how it departs from reality because the castle, like the main focal point, looks blue. How intentional do you think the departure was? Curator: Highly intentional. Henry was a master of his craft, he used this style of heightened, skewed color choices to almost express the emotion he felt viewing it, to reflect his impression and transfer that to canvas. To make Edinburgh not just visible but felt. Editor: That’s interesting! So he was going for emotion rather than accuracy, right? Curator: Precisely! It is a beautiful illustration of that emotional investment by an artist within this vista and canvas. A felt sense of memory, nostalgia or perhaps the cool balm of peace. Editor: It makes me want to visit the city myself and see if I can find that feeling. Thank you. Curator: And thank you. A work like this serves as a mirror and also a portal; wonderful isn't it?