Vivid Dreams: The Colours of Francis Cadell
by Ami Melville
When Scottish Colourist Francis Cadell enlisted to fight in the First World War in 1914, the fundamental changes to his artistic approaches were evidently reflected in the paintings he completed before, during and after this period. Known for his stylish depictions of Edinburgh city life and bold, ingenious use of colour in his paintings, Cadell was an undeniable force in the early 20th century Scottish artistic sphere. Below (Figures 1 and 2) are two paintings he completed prior to the War, already conveying his sophisticated palette.
(Fig 1) Francis Campbell Boileau Cadell, The Model, 1912, Oil on canvas. Courtesy of National Galleries Scotland.
Depicting a tiny figure in the foreground against a vast backdrop of pastel hues, Cadell captures the peaceful and charming essence of a sunny day in the Scotland cityside. His simple, purposeful brushstrokes are effectively placed to communicate his nostalgia for this landscape.
(Fig 2) Francis Campbell Boileau Cadell, Santa Maria della Salute, Venice, 1910, Oil on canvas. Courtesy of National Galleries Scotland.
Using a darker palette, Cadell characterises the figure’s taste through the furniture surrounding her. He pays closer attention to the details of her body, but with similarly bold brush strokes to show his expertise in colour and form.
During the War, Cadell continued painting but vastly simplified his style. He focused directly on capturing the essence of a scene, the nostalgia of an interaction. For example, in The Parting (1915) (Figure 3), he uses a single red brush stroke to indicate the shape of the woman’s lips, already casting a melancholy tone on the scene. The boldest part of the work is the dark black brim of her hat, tilted downwards to continue capturing the woman’s body language. Using this same approach, Cadell contrarily characterizes a light, banterful scene between a sailor and his courtee in Delicate Banter (1915) (Figure 4). These works, rooted in nostalgia and observation, show Cadell’s continuous artistic eye throughout his experiences in the war. His sympathy for soldiers in the army is captured through the complex emotional undertones of these sketches.
(Fig 3) Francis Campbell Boileau Cadell, The Parting, 1915, watercolour on paper. Courtesy of National Galleries Scotland.
(Fig 4) Francis Campbell Boileau Cadell, Delicate Banter, 1915, watercolour on paper. Courtesy of National Galleries Scotland.
After the War, Cadell carried this approach throughout the rest of his artistic career. Utilising simple brush strokes and bold colour palettes, he carefully highlighted the spirit of his scenes rather than focusing on perspective and shadows. In his later life, he predominantly used black in his work to outline as he did during the War.
Francis Campbell Boileau Cadell, Portrait of a Lady in Black, 1921, oil on canvas. Courtesy of National Galleries Scotland.
Francis Cadell remains a prominent force in the uses of colour and colour theory in 20th century Scottish art history. While his earlier and later works showcase much of his talent, I am personally always drawn back to his simple sketches. The way an artist can characterise such complex interactions with only a dozen brushstrokes, capture the nostalgia of a meeting in a tiny amount of paint– to me, that is a timeless and priceless ability.