Samuel Peploe is typical of the many British artists who succumbed to the magnetism of Cezanne in the early part of the twentieth century. One of the so-called Scottish colourists, a loosely allied quartet of post-impressionist
painters, he made a decisive visit to France before the war, during which time this well-constructed still life was completed. Generous in its dispersal of pigment, it is nonetheless an example of modernist 'belle
maniere' - refined and beautiful painting. The surface appearance of this work derives from a system of square-brushing that links Peploe, via Cezanne, back to artists of the nineteenth-century Glasgow School like
John Lavery. Naturally, Peploe saw himself as a modern, but he was also a patriot for whom national sentiments had their place in art. In the 1920s he and his closest colleague, Francis Cadell, painted views of
the Scottish regions which they dubbed 'Ionascapes'.
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