Elizabeth Blackadder was pointed out to me by my tutor in the feedback on Assignment 1. I did some research but then lost track of it due to the relocation to New York. Luckily I later found what I had prepared, so the blog entry comes just a little later than originally intended.
Born in 1931, Elizabeth Blackadder is a Scottish painter and printmaker. My search in Bridgeman Education Library returned many results, mostly watercolour works but also some other techniques, for example oil paintings and woodcuts.
Some of her earlier works looked very modern to me, for example the Still Life with Fish (watercolour, 77.5 x 56 cm, 1972), or the Flowers and Red Table (oil on canvas, 86 x 111 cm, 1969)
There are very delicate watercolour paintings of flowers, for example the Hellebores (1987-88). Sometimes they have extremely fine details, which is revealed when looking from very close (or in large magnification), as in Cat and Flowers (1981).
Like the Cat with Flowers, the Early Spring Anemone (1977) is a compositions that is somewhat lost in space, with its small objects before an essentially empty background. I found more paintings in this style and found them a bit disturbing. It’s as if the objects were too shy to occupy their space. The Camellias (1974) are different: Much more massive, and the objects fill the image space better. I’d have guessed this painting was made later than the Spring Anemones, but the dates indicate the opposite.
I also found a lovely woodcut with Lilies. I’m very interested in printmaking and have experimented a bit with linocuts and simple etchings. So I always like to look at artist’s printwork as well. Via a Google search, I found more prints by Elizabeth Blackadder, for example a lithograph, titled Roman Wall II, Walltown (1960) or the Abessynian Cat, an etching made 2003 at the Glasgow Print Studio.
I also found a really lovely watercolour of a Cat, titled Abessynian Cat Asleep (13.5 x 18.5 cm, 1985). The format is very small, but I double checked and it’s correct. The closeup picture shows the dark pencil underdrawing. I find this interesting because it certainly helped to build up the shapes, yet it does not disturb in the slightest the overall impression. It even adds another dimension which I like.
The link to Elizabeth Blackadders works which I was given for reference by my tutor points to a blog entry which presents an impressive variety in Elizabeth Blackadder’s works. One wouldn’t think that these were all made by the same artist.
The pointer to the Dragon Fruit watercolour was supposed to illustrate the intensity that is possible with watercolours. At the time, I tended to use watercolours in very pale washes, and looking at the painting, I realized that I was missing out much of the appeal of watercolour paintings. I remember that I was quite impressed seeing this painting. It had a good effect – I think that my application of colour has improved, and I’m beginning to get really intense tones and strong contrasts in my paintings. Still some way to go to achieve that kind of delicacy that I see in Blackadder’s (and other’s works), but I’m on my way!
Sources
Dragon Fruit watercolour: http://pinkpagodastudio.blogspot.co.uk/2011/09/dame-elizabeth-blackadder.html
Roman Wall II, Walltown (1960): http://www.tate.org.uk/art/artworks/blackadder-roman-wall-ii-walltown-p06038
Abessynian Cat (etching, 2003): http://www.glasgowprintstudio.co.uk/Shop/DisplayPrint/4?requestType=eArtistPage
Abessynian Cat Asleep: http://www.bonhams.com/auctions/20487/lot/65/