1871 -1935 · Scottish Colourists, Edinburgh and Paris

Powerful still lifes and clear landscapes reflect in Samuel Peploe a continuous search for balance between color, material and form.

Samuel John Peploe, often simply named Samuel Peploe, was born in Edinburgh in 1871 and died there in 1935. He trained in Scotland then in Paris, where he directly studied French tradition and the innovations of Manet, the impressionists and modern painters. His still lifes from the beginning of the century favored dark backgrounds, the brilliance of metal, fruits and flowers placed with almost theatrical precision. His stay in Paris from the beginning of the century favored dark backgrounds, the brilliance of metal, fruits and flowers placed with almost theatrical precision. His stay in Paris from 1910 to 1912 transformed his palette: the colors became more frank, the shots more readable and the touch more structured. Still life in the coffee maker brought together the two sides of his art, the density of the object and the autonomy of relationships chromatic. In Pink Roses, flowers do not float in a setting; they form a stable volume around which vase, table and background are arranged. Jardins du Luxembourg recalls that Peploe was also a landscaper attentive to French places, Cassis, Iona and the Scottish coasts. Often painting on the motif, he translates space into blocks of color and energetic shortcuts. With FCB Cadell, JD Fergusson and GL Hunter, he belongs to the Scottish Colourists, a group brought together by French experience and the power of color. With FCB Cadell, JD Fergusson and GL Hunter, he belongs to the Scottish Colourists, a group brought together by French experience and the force of color. With FCB Cadell, JD Fergusson and GL Hunter, he belongs to the Scottish Colourists, a group brought together by French experience and the force of color. With FCB Cadell, JD Fergusson and GL Hunter, he belongs to the Scottish Colourists, a group brought together by French experience and the force of color. His work remains figurative, but its tension between recognizable object and pictorial construction gives it lasting modernity. The "Samuel" selection Peploe" notably compares Jardins du Luxembourg and Still Life in the Coffee Maker. His reading favors figures.

Peploe always maintains two truths at once: the object retains its weight, while the color becomes free.