
The Master's Pipes - Glenmorangie House Hotel
Highland Gems Collection
Paul Taggart Miniature Masterworks
Oils on Gesso'd Wood Panel
Private Collector Ownership
Frame Size (outer) 28cm[w] x 28cm[h]
FRAME - Hand-made by Frinton Frames. 75mm wide profile. Gesso covered dome-shaped reverse moulding, hand-coloured in black and red distressed with an antique wash. Inner edge finished in cream/green.
“Welcome to our Highland studio and thank you for dropping by to view my miniature Masterworks oil painting, ‘The Master’s Pipes’ – one of a suite of four paintings in which Glenmorangie Whisky is the subject. Much-beloved around the world, Glenmorangie whisky is steeped in the history of the Highlands of Scotland, where it continues to be distilled on the banks of Dornoch Firth, north of Inverness.
SUBJECT - one by one the guests had made their way to the table – it was January 25th and this was, what was then known as Glenmorangie Highland Home (now the Glenmorangie House Hotel). James Mackay, one of the historical ‘Sixteen Men ae Tain’ at the Glenmorangie Distillery and Pipe Major of Tain Pipe Band (when this painting was produced) was about to perform one of the most pleasant of his annual tasks, the piping-in of the haggis. Here his kilt and sporran lie, carefully draped over the Orcadian chair, as are his beloved pipes, while he takes a much-deserved dram himself, before getting changed for this Burns Night supper. In the sporran you can just make out the badge of the Queen’s Own Highlanders, which James is entitled to wear, having served with the battalion. Not long after the ceremonial meal, his attire was carefully packed away so that he could wend his way home.
Memories are made of nights, such as this, as they are from the paintings that ensue – a privilege for an artist such as myself, especially as Eileen and I had enjoyed the aforementioned Burns supper at Glenmorangie Highland Home.
METHOD – these miniature Masterworks oil paintings are created using my unique method, a method based on traditional techniques, which are progressively worked through in layers from dark-to-light; a process that cannot be hurried, nor short-cuts taken. First, the underlying thinned colours of the underpainting, next the impasto stage, with glazes and tints used extensively to enrich and subtly enliven the oil painting – it is through these techniques where the ‘art’ of oil painting comes into its own.
As always, we thank you for reading and watching, with best wishes from Eileen and myself,”
Paul Taggart
Artist : Author : Presenter : Producer
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