Bloomsbury Group

A retired priest in North Wales told me that after the war he had been asked by Billy Butlin to buy 19th-century paintings for the holiday-camp chapels, because they were going cheap. One he bought, for 49 guineas in 1947, was William Dyce’s 1835 ‘Lamentation of the Dead Christ’. In 1983, after the Butlin’s chapels had closed, it made a handy £125,000 at auction, when it was bought by Aberdeen Art Gallery. As late as 1962, Lord Leighton’s great ‘Flaming June’ (1895) was sold for £50. Today? Millions. Talk about ‘the bubble reputation’. The pattern of artistic fame followed by subsequent obscurity has been repeated through the centuries.

This exhibition is awash with luscious brushstrokes, but then that’s to be expected: it’s full of Scottish painting. Before the barren era of conceptual art, which most hope is over, people often observed that the Scots could paint while the English could draw. Why is a bit of mystery, but it was true right through the 18th and 19th centuries and well into the 20th. The Dovecot Studios exhibition opens with John Duncan Fergusson’s portrait of his lover and first muse, Jean Maconochie, painted about 1902. It’s a fabulous eyeful of brush marks.