Eric the Red 1979   Edition  of 28  Thanks to Evelyn Russel for the image.

Exhibited at the RSA in 1976. Barbara’s cat Heather atop a wall by a small farmhouse and all beneath a lowering sky. There is a confident use of caustic etch to achieve halftones.

Edition of 18.

 

      Thanks to Sally and Ken Stott for this image.

At present this list is incomplete. Information on edition numbers will be added when known.

1970

Tiger, Tiger   edition of 12

1971

Horoscope

1972

Spiral Ornament

1973

Circus     edition of 20

Standing Stone

Plants Upstekin

Bee Orchid     edition of 20

1974

Wembley Gem and Heather

Dark Valley

Antares

1975

Back Garden Geese

Morphie and Bonseller

Sun Setting

Jackdaw

1976

Slad Valley Magpies

Ballintuim

Hill Farm

Saturnia pavonia

1977

Hill Sheep

Cullow Marker

Macavity takes his ease

1978

Houghend

Gray Day

Snow

1979

Eating Daisies

Hen House

Black Heart

Eric the Red     edition of 25

 

 

The first of Barbara’s Linocut prints to be exhibited at the RSA in 1973. The principle part of the image is the magnificent Pictish symbol stone in Aberlemno churchyard in Angus, Canmore ID 34806. This early print is composed within a restricted colour range and the landscape containing graphic symbolism and linear textures has only a little reference to perspective.

 

From 1973 to 1992 [except 1986 and 1989] Barbara’s work was selected for the Royal Scottish Academy Annual exhibition. Dates, titles and catalogue numbers are given below.

1973          Standing Stone  cat. 399

1974          Dark Valley  cat. 391, Antares  cat. 401

1975          Sun Setting  cat. 415,  Jackdaw  cat. 443

1976          Saturnia pavonia  cat. 426,  Hill Farm  cat. 450,  Ballintuim  cat. 488

1977          Hill Sheep cat. 448,  Cullow Marker cat. 466,

                     Macavity takes his ease cat. 483

1978          Houghend  cat. 446  Gray Day  cat. 457,  Snow  cat. 494

1979          Eating Daisies  cat. 430,  Hen House cat. 482

1980          Paper Tiger  cat. 422,  Red Shed  cat. 429

1981          Crow Chalice  cat. 441

1982          Winter Hen  cat. 390

1983          Red Thread  cat. 470

1984          Last Winter Sea  cat. 400

1985          Sending  cat. 171

1987          14.30  Perugia  cat. 394

1988          Washing  cat. 300,  Passing Tail  cat. 304

1990          Tear  cat. 416,  Land Patterns and Crows  cat. 427

1991          Calabrian Cats   cat. 353,  Pink Field  cat. 377

1992          Turin Hill  cat. 455,  Hedge  cat. 469

This information is taken from;‘The Royal Scottish Academy Exhibitors 1826-1990, A Dictionary of Artists and their Work in the Annual Exhibitions of the Royal Scottish Academy,’ Charles Baile de Laperriere (ed).   4 volumes. Hilmarton Manor Press. 1991.

 

 

 

 

Barbara working on ‘Winter Sun’.  “The late Mr Fang glowering on my wall”.

An untitled print from one of several plan chests. There can be no doubt as to the source for this work. The imagery plainly comes from the poem by John Masefield. In the first stanza Masefield writes…

Quinquirime of Nineveh from distant Ophir, Rowing home to haven in sunny Palestine, with a cargoe of ivory, and apes and peacocks, Sandalwood, Cedarwood and sweet white wine.

This print with the title Greek Galley will be shown as part of a major show of Barbara’s work at the Compass Gallery in Glasgow from 9th-25thMay 2019.  http://www.compassgallery.co.uk

It could be a hill town with characteristic buttressing somewhere in Italy, but where? The lion textile could be a clue to the country. The image is a montage.

Soon after establishing her studio at Douglastown Barbara began to submit works for the RSA Annual Open Exhibition. This is a selected exhibition and for the next twenty years she was successful in having works selected for the show. At this point it might be worth considering the RSA as a membership body and its methods of election.

The Royal Scottish Academy is an independent body of artists and architects, founded in 1826 as the Royal Scottish Academy. It was incorporated by Royal Charter in 1838 making it Scotland’s oldest artists’ collective. The membership encompasses Honorary Academicians, Academicians and Academicians Elect ( the latter being those who have yet to submit a Diploma Work to the RSA Collection).

Prior to 2005 there was a fixed number of Full Academicians (those allowed to use the suffix RSA) and a fixed number of Associate members (who were distinguished by the honorific, ARSA). Admission to both ranks was by seconded nomination followed by election. Nominations, seconds, and voting were all within the gift of the existing membership. The rank of Associate was discontinued in 2005.

Barbara Robertson’s name was put forward for election to the rank of Associate in 1991, 1992, 1993, 1995 and 1998. The discipline of printmaking came into effect in 1989 adding to those of painter, sculptor and architect. In 1992, 1993 and 1998 there were no printmaking vacancies in the associate ranks so there was simply no chance of Barbara or anyone else being elected in those years.

The only way an Associate could ever become a full Academician was to have their name put forward for election on the death of a sitting Academician member of the same discipline. If no Academicians died in any particular year there were no elections held as there were no vacancies to fill to maintain the numbers.

Barbara was certainly not alone in suffering repeated disappointment, and indeed it was the norm for artists across all disciplines to be nominated from within the existing Membership (Associates and Academicians) and outvoted year after year before finally securing a place. Such has been the fate of many who are regarded as leading figures in their field, and a number who went on to hold office, including the highest office of President.

For whatever reason Barbara was not proposed again for membership and she ceased exhibiting at the RSA.

For further information about the RSA go to https://www.royalscottishacademy.org