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In The Artists' Footsteps

Select a Story


Donald Watson 1918 - 2005

Harbour Cottage Gallery Kirkcudbright - 60th Anniversary

Archie Sutter Watt

Nan S Fergusson (Mrs James Henderson) 1910 - 1984

E A Taylor

Edward Arthur Walton

Christian Jane (Chris) Fergusson

James Paterson

E. A. Hornel

Jankel Adler

Francis Campbell Boileau Cadell

William Hanna Clarke

William Daniell

George Wright

James Faed (Senior)

James Faed Junior

John Faed

Susan Bell Faed

The Faeds

David Gauld

The Glasgow Girls

Tom Gourdie

The Glasgow Boys

Francis Grose

George Henry

Anna and Isobel Hotchkis

James G (Tim) Jeffs

Jessie M King

Oskar Kokoschka

William Miles Johnston

John Maxwell

Henry Joseph Moule

William Mouncey

William Stewart MacGeorge

Charles Oppenheimer

Samuel John Peploe

William Bruce Ellis Ranken

William Robson

Charles William Stewart

Jim Sturgeon

Alick Riddell Sturrock

JMW Turner

Jemima Wedderburn

Christopher Whall

The Dumfries and Galloway Fine Art Society

George Henry

George Henry, forever to be associated with E A Hornel and the Glasgow Boys, produced in "A Galloway Landscape (1889)" one of the most distinctive and emblematic paintings of the region.


It was certainly revolutionary in its approach.  Craigdarroch Water by James Paterson, painted the same year shows a contrasting approach to landscape painting.  Henry's picture with its flattened perspective and bold use of colour has seen comparisons with the Post Impressionists like Gaugin.  The title is indicative of its non-realistic nature.  Although some have tried to identify the location of the painting it seems a pointless exercise.  It is simply a hill, a burn and some cows.  A Galloway Landscape.


Henry’s picture caused bafflement and alarm when it was first shown at the Glasgow Institute in 1890.  The Hanging Committee, of whom James Paterson was one, placed the Glasgow Boys' pictures in one room, dubbed "the Chamber of Horrors".  A Galloway Landscape came in for particular criticism,


"Take for instance A Galloway Landscape of George Henry.  It may be clever but it is not art.  It is utterly destitute alike of perspective, atmosphere, and poetry, three very serious defects, as we take it, in a landscape picture."

[Helensburgh and Gareloch Times 12/02/1890]


George Henry never developed this style further, giving the painting a greater importance and adding to its enigma.  The Druids, a joint effort with Hornel, shows a similar approach but in a decorative setting. Henry fell ill soon after and left Kirkcudbright to recuperate in Ayrshire.  In 1893 he set off for Japan with Hornel and this was again to alter his painting style.  On his return he turned to portraits and moved to London where he became a successful society artist.


In 1996 the New Statesman asked "the great and the good to choose works of art they would love to find in their Christmas stocking".


Ian Jack wrote …unrealistically (the Glasgow art galleries aren’t going to hand it over), George Henry's painting Galloway Landscape.  I don’t know why.  It’s just some black and white cows under a blue sky on a green hill.  Perhaps because it is so simple, restful and luminous…


 A Galloway Landscape

A Galloway Landscape

In a Cottar's Garden

In a Cottar's Garden



The Druids Bringing in the Mistletoe

The Druids Bringing in the Mistletoe