{"id":107381,"date":"2017-02-03T15:50:01","date_gmt":"2017-02-03T20:50:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=107381"},"modified":"2017-02-03T18:48:43","modified_gmt":"2017-02-03T23:48:43","slug":"alaisdair-the-artist","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/02\/03\/alaisdair-the-artist\/","title":{"rendered":"Drawing and Imagining"},"content":{"rendered":"

Alasdair Gray\u2019s paintings, like his books, are marked by\u00a0both fable and reality.<\/em><\/p>\n

\"\"<\/a>

Alasdair Gray, Small Boy Sleeping (Stuart Maclean)<\/i>, 1970, ink drawing with watercolor and acrylic on board.<\/p><\/div>\n

 <\/p>\n

With every one of our Writers at Work interviews, we include a manuscript page, giving a glimpse into writers\u2019 approaches to editing and revision. On the page that accompanies Alasdair Gray\u2019s interview<\/a> in our Winter 2016 issue<\/a>, there are two drawings: a hooded man in profile, and a den of snakes rising happily out of a pyramid. The man\u2019s face has been expertly hatched, and the snakes seem to have been doodled by a cheerful hand. They complement Gray\u2019s dense, looping handwriting on, in this case, a draft of Lanark: A Life in Four Books<\/em>\u2014a monumental, six-hundred-page work published in 1981, and the first of Gray\u2019s landmark novels of Scottish contemporary experience.<\/p>\n

As that manuscript page suggests, Gray\u2019s work as an artist is integrated into his writing. After graduating from the Glasgow School of Art in 1957, he worked as a painter and muralist for nearly twenty-five years before publishing Lanark<\/em>. When he signed on with his longtime publisher, Canongate, they gave him a remarkable degree of creative control over his books. Illustrations, cover design, frontispieces\u2014they\u2019re all designed by Gray.<\/p>\n

If the manuscript hints at how deeply his art and writing are intertwined, the sketches\u2014the fairly realist face and the near-fantastical serpents\u2014hint at the two worlds he tends to inhabit. Lanark,<\/em> famously, is made up of both a realist book and an allegory. The realist sections are given to a man named Duncan Thaw in a recognizable Glasgow, and the others to Lanark in Unthank\u2014a city of fables and farce and moral tales. His paintings also carry multiple perspectives, as in one my favorites, The City, <\/em>which he made when he was fifteen. Writing about The City<\/em> for the\u00a0Guardian<\/em><\/a>, Gray said that it<\/p>\n

crowded together parts of Glasgow that excited me. The twin-towered building was from the theological college on Park Circus, now converted to luxury flats. The synagogue beside it was from Hill Street. The tenements, church, school, railway line, public library were from anywhere, the factory with smoke stacks was reminiscent of Blochairn iron foundry nearer my home. In those days the west of Scotland\u2019s coal-burning industry had many factories, big and small, each with its smoke stack producing in mild weather an overcast grey sky of mist and soot through which the sun before noon often appeared a glowing red disk, bright but not dazzling.<\/p><\/blockquote>\n

When his\u00a0interviewer, Valerie Stivers visited Gray, now eighty-two, at his home, an assistant was working on a large painting in the front room. Of art and writing, Gray says, \u201cBoth come naturally to me. I found, when drawing and imagining things in words, that each was a complement to the other.\u201d Below, a selection of his paintings, illustrations, and murals.<\/p>\n

\"\"<\/a>

The City: Version Two<\/i>, 1951, gouache, pen and ink on paper.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Snakes and Ladders<\/i>, 1972.<\/p><\/div>\n

\"\"<\/a>

Cover design for Lanark: A Life in Four Books<\/i>, 1981.<\/p><\/div>\n

 <\/p>\n

<\/a>

Cowcaddens Streetscape, 1950s<\/i>, 1964 .<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Oran Mor auditorium (detail), 2004.<\/p><\/div>\n

 <\/p>\n

Caitlin Love is an associate editor of\u00a0<\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

Alaisdair Gray\u2019s paintings, like his books, are marked by both fable and reality.<\/p>\n","protected":false},"author":973,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[18642],"tags":[26068,35,23519,27106,27101,24491,15154,17533,14048,2783,241,27099,27098,27104,18352,27110,4154,5872,27105,3413,27108,27109,13464,7782,27097,4271,27100,27102,27107],"class_list":["post-107381","post","type-post","status-publish","format-standard","hentry","category-inside-the-issue","tag-alasdair-gray","tag-art","tag-artist","tag-book-publishing","tag-canongate","tag-cover-designs","tag-fables","tag-farce","tag-glasgow","tag-illustrations","tag-interview","tag-lanark","tag-lanark-a-life-in-four-books","tag-moral-tales","tag-murals","tag-oran-mor","tag-paintings","tag-realism","tag-realist","tag-scotland","tag-scottish-contemporary-experience","tag-scottish-novel","tag-serpents","tag-the-art-of-fiction","tag-the-city","tag-the-guardian","tag-unthank","tag-valerie-stivers","tag-winter-2016"],"acf":[],"yoast_head":"\nDrawing and Imagining: Art by Alasdair Gray<\/title>\n<meta name=\"description\" content=\"Of art and writing, Gray says, \u201cBoth come naturally to me. 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