Margot Sandeman
| Margot Sandeman | |
|---|---|
| Born |
Margot Sandeman 27 May 1922 Glasgow, Scotland |
| Died | 17 January 2009 (aged 86) |
| Education | Glasgow School of Art |
| Known for | Painting |
| Notable work | Sheep Resting on the Shore |
| Spouse(s) | James Robson |
Margot Sandeman (27 May 1922 — 17 January 2009) was a Scottish painter, close friend of Joan Eardley and long-time collaborator with poet Ian Hamilton Finlay.
Margot Sandeman was born in Glasgow to a family of Scottish artists, the daughter of self-taught watercolourist Archibald Sandeman (1887-1941), and internationally known embroiderer Muriel Boyd (1887-1981). Sandeman grew up in Bearsden in a creative household, influenced by William Morris and the Arts and Crafts movement. The family home was decorated by her mother with texts such as "Bread feeds the body but flowers the soul".
Sandeman studied at the Glasgow School of Art, where her contemporaries included Joan Eardley and the poet Ian Hamilton Finlay. Sandeman was already a confident painter when she began art school and, like Eardley, one of a small group selected for special training by the head of drawing and painting, Hugh Adam Crawford. Both artists flourished under his experimental fast-track treatment. Crawford commented on “the inner structure [of Sandeman's paintings], which is not an optical thing.”
Sandeman and Eardley met for the first time at Glasgow School of Art and became close friends.
"We were very shy of each other for about a year," Sandeman remembers. "But Joan's mother and my mother enticed us to do a Red Cross course together. We started having to bandage each other, that broke the ice! After that we became tremendously great friends."
Both lived in Bearsden and, although their styles were very different, they encouraged and supported each other, drew and painted together, and shared camping trips and family holidays. In 1941, as students, Sandeman and Eardley acquired a horse and caravan and travelled, sketched and painted around Loch Lomond. For many years, the two women regularly visited High Corrie on the Isle of Arran, renting an outhouse, “The Tabarnacle”, as a studio.
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