History of the New at the Fine Art Society

P05 The Fine Art Society, London

History of the New at the Fine Art Society

 

Jan van Kessel the Elder (1626-1679), Exotic Birds in Flight and Perched on Branches in a Mountainous Landscape, 1677, oil on canvasJan van Kessel the Elder (1626-1679), Exotic Birds in Flight and Perched on Branches in a Mountainous Landscape, 1677, oil on canvas

The Fine Art Society’s summer exhibition will highlight the gallery’s specialisms and heritage, with the exhibition opening across both London and Edinburgh gallery spaces as they bring together an exquisite group of 40 works by pioneering British and Scottish artists who forged new ways of making art.

History of the New at The Fine Art Society includes an impressive collection of rarely-seen paintings, furniture and [decorative arts] from the 19th and 20th centuries. Notably, Sir John Lavery’s Portrait of a Lady in Grey and Black has not been seen in public since 1914 after it was bought 1901 by the present owner’s grandfather Nicol Paton Brown, a patron of the artist. Additionally, a devotional enamelware by Phoebe Traquair, the first woman member of the Royal Scottish Academy and leading figure within the Scottish Arts and Crafts movement who blurred the distinctions between fine and decorative arts, will form part of the exhibition highlights.

Sir John Lavery, Portrait of a Lady in Grey and Black, c.1902, Oil on CanvasSir John Lavery, Portrait of a Lady in Grey and Black, c.1902, Oil on Canvas

 

Alongside the outstanding work by British self-taught painter Keith Vaughan whose rare and early wartime gouache depicts a touching scene of a father and son in the Yorkshire dales, two large and impressionistic landscapes by William McTaggart – one of Scotland’s most daring nineteenth-century painters – show his evolution from a Victorian painter to an Impressionist and Expressionist. His idiosyncratically anticipates much of the development of modern art

Watercolours

Featuring a masterfully painted and fantastical oil painting by John Byrne from the late 1960s to important prints by Paul Nash and Kenneth Martin, radically modern watercolours by Arthur Melville and Charles Rennie Mackintosh, to a selection of paintings by the Glasgow Boys who defined the history of Scottish art and placed themselves at the forefront of British art, this exhibition showcases over 40 prominent Scottish and British artists as historical fine and decorative arts come together.

See also: Turner Prize 2023 Nominees Announced

Scottish art forms a critical part of History of the New at The Fine Art Society, with works by outstanding Scottish Colourist F.C.B Cadell and a striking gouache painting by George Henry which will be displayed alongside furniture by Daniel Cottier whose style came to define the Aesthetic Movement and is credited with the spread of Aestheticism in the United States.

Charles Rennie Mackintosh, Palada, Pyrénées-Orientales, c. 1924-1927, Pencil and WatercolourCharles Rennie Mackintosh, Palada, Pyrénées-Orientales, c. 1924-1927, Pencil and Watercolour

 

A rare and important watercolour painting by Charles Rennie Mackintosh will appear on the market for the first time after it was bought from the artist’s memorial exhibition in 1933. A tour de force amongst Mackintosh’s late watercolours of the South of France, it has been at the Scottish National Gallery of Modern Art for many years and is a testament to the international regard with which this artist is held.

Highlights also include a rare decorative works including an exceptional Glasgow-style metalwork door plate by Talwin Morris, a Persian style tile by [William de Morgan, and a jewel-like oil “La Lavandeuse” by founding member of the Camden Town Group Harold Gilman, as well as Joseph Crawhall‘s “In the Paddock” which has not been on the art market since the 1950s.
One of the UK’s oldest fine art dealers, The Fine Art Society, has an established reputation for its expertise in British art and design from the 19th and 20th centuries and Scottish art from the 17th century to today. The Fine Art Society’s integrated gallery spaces in both London and Edinburgh draws together the unique aesthetic and expertise of both physical galleries while also offering new digital initiatives. The exhibition will run from 2nd June – 29th July and will also be available to explore online.

Festival

History of the New at The Fine Art Society is part of the inaugural NT Art Month – a new festival in Edinburgh that celebrates the incredible arts quarter in Edinburgh’s New Town. This is an opportunity to enjoy these festivities further afield in London as History of the New will also be opening at The Fine Art Society’s Soho gallery. Just a stone’s throw away from the capital’s world-famous art district, the gallery space occupies a multi-storey Grade-II listed Georgian townhouse, which opened in October 2020.

Harold Gilman, The Washerwoman (La Lavandeuse), c. 1911, Oil on Canvas.Harold Gilman, The Washerwoman (La Lavandeuse), c. 1911, Oil on Canvas.

 

Emily Walsh, Managing Director of The Fine Art Society, comments, Our summer show brings together artists who found themselves working at the threshold of the modern. It was this self-awareness and urge to make it new that motivated them as individuals and, for some, brought them into movements. They rejected the received wisdom of their day in favour of forging new ways of making art. They saw the world around them differently and made their mark telling us how. Amongst the myriad paintings and objects that will be on display in our two galleries in Edinburgh and London this summer are works from the 19th and 20th centuries; British and Scottish artists who worked as pioneers and whose work came to define a moment.

About The Fine Art Society

Established in 1876, The Fine Art Society’s two gallery spaces in London and Edinburgh handle British and Scottish art, design, and decorative arts from the C18th to the post-war period. The Fine Art Society’s London premises in Soho is set over three floors of an elegant Georgian townhouse off Carnaby Street. An expansive gallery space over two floors is our Scottish base in the heart of Edinburgh’s New Town. It specialises in Scottish art from the seventeenth century to the present day and provides advice to collectors and public institutions on private sales, auction, framing and conservation.

History of the New at The Fine Art Society 

Friday 2nd June – Saturday 29th July 2023
London: 25 Carnaby Street, London W1F 7DE
Edinburgh: 6 Dundas Street, Edinburgh EH3 6HZ

P05 The Fine Art Society, LondonThe Fine Art Society, London

 

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地下建築機電系統與通風管線,展現隱藏於結構中的能源消耗與環境成本

地下建築的環境成本從來沒有被真正看見

地下建築常被當成一種節省空間,甚至被包裝成對環境友善的選擇。但這種說法只成立在地表以上。一旦視線往下移,所有被隱藏的成本就開始浮現——不是消失,而是被推遲、被轉移,最後被重新分配。 地下並不是解法,它只是把問題壓進另一個層次。當我們選擇不看見,它們就暫時不存在;但那只是視覺上的缺席,不是現實的消除。     地下空間常被視為穩定與安全的延伸,彷彿是一種不受外界干擾的建築基礎,然而這種想像忽略了其背後龐大的能量消耗與維運系統,使地下建築不僅不是被動的結構支撐,而是高度依賴能源與技術持續運作的環境,其存在本身即意味著一種長期且不可見的成本累積。     在地下空間之中,光線、空氣與溫度不再由自然條件提供,而是完全依賴人工系統進行調節,通風設備、抽排系統與照明設施持續運轉,使空間得以維持基本的使用狀態,然而這些維持穩定的條件並非自然存在,而是透過持續的能源輸入所換取的結果,使地下建築在日常運作之中不斷消耗資源,形成一種看似靜止卻實際高度動態的能量循環,而這種循環往往被隱藏於結構與設備之後,難以被直接感知 隨著地下空間規模的不斷擴大,其維運需求也隨之增加,從交通系統、商業空間到儲存設施,地下逐漸成為城市運作不可或缺的一部分,然而這些空間所依賴的系統同時也帶來長期的能源負擔與環境影響,設備的更新與維護、系統的持續運轉與升級,都意味著額外的資源投入,使地下建築不僅在建造階段消耗大量能量,更在其生命週期之中持續產生成本,並在長期運作之下,逐步反映於整體基礎設施對地景的重組之中。這些成本並未直接體現在可見的形式之中,卻深刻影響著整體環境 當地下被視為可無限擴展的空間時,其背後所隱含的限制與代價反而更加被忽略,建築與城市傾向將地下視為一種可被持續開發的資源,而非需要被審視的結構條件,使這些空間在提供功能與安全的同時,也不斷累積不可逆的環境負擔,這種將成本隱藏於深層結構之中的運作方式,使我們難以全面理解地下建築的真實影響,並進一步強化了對其依賴而不自覺的狀態       這些被隱藏於地下的能量消耗與環境成本,最終仍指向同一個問題——建築如何在能源、材料與基礎設施交織而成的系統之中被持續支撐與重構。       挖掘的開始 一切從開挖開始。土方被移除,岩層被破壞,地下水系被迫改道。這些改變不會消失,它們只是被轉移到別的地方,被分散到更難追蹤的位置。 我們習慣用「開發」、「建設」這些詞來描述這些行為,但這些語言本身已經在替過程減壓。真正發生的事情更直接:地層被切開,結構被打斷,一種原本穩定的系統被迫重新排列。這不是中性行為,也不是單純的技術操作,而是一種不可逆的介入。 一旦開始,就沒有回到原來狀態這件事。所有之後的設計與選擇,都只是對這個破壞結果的回應。     這些被隱藏於地下的能量消耗與環境成本,最終仍指向同一個問題——建築如何在能源、材料與基礎設施交織而成的系統之中被持續支撐與重構。  

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