Iain Hood, Maggie Ritchie and Philip Miller - Glasgow Art in Fiction
Three new novels from Iain Hood, Maggie Ritchie and Philip Miller take their inspiration from Glasgow and its artists.
About Iain Hood, Maggie Ritchie and Philip Miller - Glasgow Art in Fiction
| 21st May 2022 | |
| 4.45pm - 5.45pm | |
|
The Mitchell Library and Theatre The Mitchell Library North Street, Glasgow City Centre G3 7DN what3words location: admits.calls.going |
|
| £11 | |
| Event organiser/part of Aye Write! | |
| Visit the event website here | |
| Follow AyeWrite on Twitter | |
| Facebook information can be found here | |
Susan Alison MacLeod, a Glasgow School of Art graduate with a dark sense of humour, first lays eyes on Douglas MacDougal at a party in 1988, and resolves to put him on the cross in the Crucifixion painting she’s been sketching out, but her desire to create ‘good’ art and a powerful, beautiful portrayal means that a final painting doesn’t see the light of day for fourteen years.
Over the same years, Douglas’s ever-more elaborately designed urine-based installations bring him increasing fame, prizes and commissions, while his modelling for Susan Alison, who continues to work pain and suffering on to the canvas, takes place mostly in the shadows. Iain Hood’s This Good Book is a wickedly funny, brilliantly observed novel that spins the moral compass and plays with notions of creating art.
Lily Crawford and Jeanie Taylor, from very different backgrounds, are firm friends from their childhoods in Kirkcudbright. The two women's eventful lives are intertwined. In the years before the First World War, the girls lose touch when Jeanie runs away from home and joins a dance company, while Lily attends The Mack, Glasgow's famous school of art designed by Charles Rennie Mackintosh. Inspired by the eventful and colourful lives of the pioneering women artists The Glasgow Girls, particularly that of Eleanor Allen Moore, Maggie Ritchie’s Daisy Chain is a story of independence, women's art, resilience and female friendship, set against the turbulent background of the early years of the 20th century.
Philip Miller’s The Goldenacre is named after a masterpiece by Charles Rennie Mackintosh. The beautiful canvas, the last work by the artistic genius, enthrals the art world, but behind it lies a dark and violent mystery. Thomas Tallis, an art expert with a trouble past, is trying to uncover the truth about the painting's complex history, while dogged newspaper reporter Shona Sandison is investigating a series of shocking murders in Edinburgh. Both investigators soon become engulfed in the machinations of money, crime and identity in a literary thriller set amid the seen and unseen forces at work in modern Scotland.
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