Ben More from Martyrs Bay, Iona 1925

Editor: So, this is Samuel Peploe's "Ben More from Martyrs Bay, Iona," painted in 1925. It’s an oil painting, and the colours feel… almost dreamlike? It's not how I'd expect a landscape to look. What stands out to you in this piece? Curator: What I see is Peploe engaging with a visual dialogue that's been shaped by, among other things, the rise of tourism and the romanticisation of the Scottish Highlands. Think about how the Highlands were marketed – both visually and textually – and how Peploe's contemporaries represented these same scenes. Is he playing into that, or pushing back? And what role does painting en plein air play in the production and later reception of an artwork such as this? Editor: That's a great point. It’s interesting to think about the role of painting en plein air here. Do you think painting outside and engaging directly with his environment affects what ends up on the canvas? Curator: Absolutely. Painting 'en plein air', directly from nature, changes everything. It connects him to Impressionism and its legacy, which emphasizes direct observation. Yet, Peploe simplifies forms and amplifies colours, moving away from purely representational painting towards a modernist, individual vision of the Scottish landscape. And consider where and when these paintings might have been shown - in private collections or public galleries - and to whom? This shapes our understanding of them. Editor: It's like he's inviting the viewer to experience the place, but filtered through his unique artistic perspective. I guess, because I saw dreamlike quality when the intention might have been to capture a feeling, or even be affected by commercial pressures... I wouldn't have noticed any of this without you. Curator: Exactly. He is both observing *and* interpreting. It's a wonderful example of how an artwork participates in various visual, social, and historical dialogues at the same time. Editor: That's incredibly insightful. It gives me a lot to think about.