-
Artworks
Craigie Aitchison
Dog in Red Painting, 1974-75Oil on canvas221 x 188 cm
87 1/8 x 74 1/8 inAitchison finished Dog in Red Painting in a new studio overlooking Cambridge Circus, London, which he took in 1975. The painting is notably larger than much of his previous work, reflecting the size of his new working space. An expansive quality entered his work at this time, and an increase in size was accompanied by a further simplification of subject content. As the title suggests, Dog in Red Painting resumes the theme of earlier works like Purple Landscape (1956, Private Collection) and Yellow Painting (1957, Private Collection), both of which rely almost solely on colour for compositional structure and artistic effect. The inclusion of a dog in this work, Aitchison’s first Bedlington terrier, Wayne or ‘Wayney’, creates a playful antagonism with the otherwise abstract qualities of the picture. The work is executed with the artist’s characteristic technique of rich colour and thin application. Helen Lessore noted that ‘His paint has always been extremely thin, scrubbed into the canvas.’ The saturated colour of Dog in Red Painting was developed using a fine layer of paint which did not sit on the canvas; the canvas has rather been stained with paint, filling the pores and appearing to emanate from it. Referring to a time when he attempted to use thick paint, Aitchison said ‘that was no good because there was no tension left; the surface of the canvas had gone and when I lose that, everything has gone.’ To retain this thin surface in his work, Aitchison developed a technique of ‘itching’ or ‘nudging’ paint around on the canvas. Speaking to Tate Gallery conservators in 1994, he said ‘I itch the paint from the inside to the edge to get a line… and finally drawing the edge with a small knife.’ This is the case with Dog in Red Painting where the horizontal band of vermilion in the upper register of the painting is clearly defined with a small, incised line. The grain of the canvas is clearly visible beneath the paint, moreover, a common feature of the artist’s work which suggests his disciplined approach to surface finish.Provenance
Private Collection, acquired directly from the artistExhibitions
1975, Edinburgh, Scottish Arts Council, Craigie Aitchison: Recent Paintings, 21 June - 13 July 1975, cat. no. 1
1977, London, Knoedler Gallery, Craigie Aitchison, 22 June - 31 August 1977, cat. no. 1
1979, Cambridge, Kettle's Yard, Craigie Aitchison: Paintings selected by John McEwen, 3 March - 1 April 1979, cat. no. 1
1981, London, Serpentine Gallery; Nottingham, Midland Group; Old Portsmouth, Portsmouth City Museum and Art Gallery; Milton Keynes, Central Library Exhibition Gallery; and Bolton, Bolton Museum and Art Gallery, Craigie Aitchison: Paintings 1953-1981, 1 Dec. 1981 - 24 Jan. 1982; 6 Feb. - 7 March 1982; 7 April - 16 May 1982; 26 May - 26 June; and 3 July - 7 Aug. 1982, cat. no. 70
2003, London, Royal Academy of Arts, Craigie Aitchison: Out of the Ordinary, 9 Oct. - 9 Nov. 2003, cat. no. 25
2019, London, Piano Nobile, Craigie Aitchison and the Beaux Arts Generation, 14 Nov. 2019 - 29 Jan. 2020, cat. no. 22
Literature
Andrew Gibbon Williams, Craigie: The Art of Craigie Aitchison, 1996, Canongate Books, pp. 91 and 170, pl. 54 (col. illus.)
Craigie Aitchison, 1998, exh. cat. Timothy Taylor Gallery and Waddington Galleries, fig. 6, unpaginated (col. illus.)
Andrew Lambirth, Craigie Aitchison: Out of the Ordinary, 2003, Royal Academy of Arts, cat. no. 25, pp. 43 and 84 (col. illus.)
Cate Haste, Craigie Aitchison: A Life in Colour, 2014, Lund Humphries, pp. 111-12, pl. 97 (col. illus.)
Susan Campbell, Craigie Aitchison and the Beaux Arts Generation, 2019, Piano Nobile Publications, cat. no. 22, pp. 84-85 (col. illus.)