Kate Downie review — Joan Eardley-inspired Glasgow exhibition is a must-see

When Joan Eardley died in 1963 aged 42, she left behind an estimated several thousand works, including her last, unfinished painting, Two Children, which remained on her easel in her Glasgow Townhead studio. This piece is now in the collection of Glasgow Museums, who were recently approached by the artist Kate Downie with a project idea to invite a group of artists to “complete” Eardley’s unfinished work.

While the original concept didn’t come to fruition, a smaller-scale version did, resulting in an exhibition of about 20 sketches, studies, and portraits. At the centre of the exhibition is Downie’s Four Children 1962-2022, an updated version of Eardley’s Two Children. Somewhat disappointingly, Eardley’s original work has been replaced by a smaller than full-scale reproduction.

The venue is significant, located relatively near Eardley’s now-demolished studio. Downie and Eardley share several parallels, not only in their artistic talent but also in their exploration of the built environment and the natural world, along with a fascination for the people who occupy these spaces.

Artists often have a unique ability to deeply “read” the work of their peers, and in examining Two Children, Downie noticed details that had previously gone unseen. For instance, the older child’s arm and hand appeared disproportionately small, leading Downie to conclude that the child was holding an infant. She also discovered a fourth, ghostly figure — another younger child clinging to its sibling’s leg. These details have been included in Downie’s updated work.

Eardley is celebrated for depicting the lives of Glasgow’s working-class children, particularly those from the impoverished Townhead area in the 1960s, when urban regeneration was sweeping through the city. The Samson children, who lived nearby, often served as Eardley’s models. In exchange for simple rewards like a “jeely piece,” hot tea, and a thru’penny bit, they would “sit” for her, helping to create some of her most iconic works.

One of the exhibition’s standout pieces is Dead or Alive (Conversations with Joan), a large collaborative canvas in which children served as active participants, moving beyond Eardley’s more passive observation. Their contributions, such as drawings of sharks, were seamlessly integrated into the artwork, celebrating their creativity alongside Downie’s portraiture.

Despite Eardley’s near-saintly reputation in art circles, there’s some discomfort about her aestheticisation of poverty and her avoidance of political commentary. At the exhibition’s press view, two of the Samson sisters, whose faces are now iconic in art, noted that they have seen little financial benefit from their connection to Eardley. Acknowledging this, Downie created a charcoal study of Ann Samson, with the proceeds going, if sold, directly to the sisters.

     Until January 25, 2025