John Henry Lorimer’s first full-scale portrait was of his mother Hannah, painted when he was only nineteen. Christopher Hussey, the first biographer of her son Robert, wrote that “though she lived to a great age, she never grew up, never grew out of her habit of loving all beautiful things however humble their face value.” Together with her husband James, she restored Kellie Castle and filled it with music and memories. She later studied as a mature student at the University of Edinburgh where James was one of the forty professors, known as ‘the forty thieves,’ teaching Public Law.

At twenty-two, John Henry painted his father’s portrait. When it was exhibited at the Royal Academy, it received high praise from Sir Frederick Leighton, the president of the Academy, and John Everett Millais, the leading portrait painter of the day. The Times compared it to “the simplicity and understanding of a Moroni,” quoted with pride and delight in his mother’s letter to Alice.

Alice was painted by her brother throughout his career, the earliest example being ‘Conversation Piece,’ a double portrait with her older sister Hannah. Commissions for portraits became John Henry’s main source of income. These early portraits illuminate his development as a painter, aided by his teacher George Paul Chalmers, known as ‘The Angus Rembrandt.’ His canvases express his affection for his family. He wrote of his younger brother Robert,  “From childhood he was handsome and strong, with beautiful bray-blue eyes, fair brown hair with gold tips, and an engaging manner. He was merry and helpful and sang in his bath. He was on the best terms with his father and mother and all of us.” Monica Lorimer, John Henry’s great niece, was painted by her mother Mary at a similar age.


Mrs Hannah Lorimer (1875), John Henry Lorimer, Private Collection, Photo: © Charlotte Lorimer

Sir Robert Stodart Lorimer as a Boy (1876), John Henry Lorimer, Tate Collections, Photo: © Tate

Conversation Piece (Left: Hannah Lorimer, Right: Alice Lorimer) (1879), John Henry Lorimer, On Loan to Kirkaldy Galleries, Photo: © Kirkcaldy Galleries

Prof. James Lorimer (1878), John Henry Lorimer, University of Edinburgh, Photo: © University of Edinburgh

Monica Lorimer (1946), Mary Lorimer (née Wylie), Kellie Castle, Photo: © The National Trust for Scotland


John Henry Lorimer’s portraiture overlaps with his scenes of everyday life, known as genre. An evening of music and dancing at Kellie is remembered in ‘Spring Moonlight,’ his sister Alice swirling around with her young baby. Their mother described how John Henry worked tirelessly to complete the painting for the Royal Academy: “Willie Wheeler passing to his work soon after five in the morning still saw the light and said to him “does Mr John never go to his bed at all?” The painting was chosen by the people of Kirkcaldy as their favourite painting in Kirkcaldy Galleries.
The title of his Diploma work for the Royal Scottish Academy, ‘Maternal Instinct,’ highlights his admiration for Alice as a mother and his delight in depicting her. He was elected an associate of the Royal Scottish Academy in 1882 and made a full member in 1900. He exhibited one hundred and twenty-three works at the Academy in Edinburgh and forty-three at the Academy in London.

Violet Lorimer (née Wyld) whispers ‘Hush’ to her sleeping son Christopher before a beaming window of sunlight while the fading summer light falls on her sister-in-law Alice as she watches ‘The Flight of the Swallows’ with her children. ‘Hush’ is believed to have a similar composition to ‘The Eleventh Hour,’ currently untraced, which was awarded a gold medal at the Salon in Paris and was later conveyed to Windsor for the Queen’s inspection.

In 1903, he was unanimously elected to become a member of the Academie des Beaux Arts, the highest public honour for a foreign artist. He was later chosen to be awarded the Legion d’Honneur, the highest decoration in France, but official British regulations prevented him from accepting it. The French Government had purchased ‘Grandmother’s Birthday’ after its resounding success at the Salon. The painting captures his mother Hannah’s birthday in the dining room of Kellie Castle, a celebration shared by all, old and young, and made eternal in John Henry’s canvas.


Spring Moonlight (1896), John Henry Lorimer, Kirkcaldy Galleries, Photo: © Fife Council

Maternal Instinct (1892), John Henry Lorimer, Royal Scottish Academy, Photo: © Royal Scottish Academy

Hush (1905-1906), John Henry Lorimer, Touchstones Rochdale Art Gallery, Photo: © Rochdale Arts and

Heritage Centre

Flight of the Swallows (1906), John Henry Lorimer, Edinburgh City Art Centre, Photo: © City of Edinburgh Council

Grandmother’s Birthday (1893), John Henry Lorimer, Musée d’Orsay, Photo: © Réunion des Musées Nationaux-Grand Palais






Kellie held both the family memories and the natural beauty which inspired John Henry Lorimer. “The view from the Castle embraces the whole estuary of the Forth, from the Isle of May to Edinburgh, together with the opposite coast, from North Berwick Law and the Bass as far inland as the Lammermoor hills,” wrote Prof. James.

Fellow artist and friend W. D. McKay wrote that John Henry’s paintings captured “the glamour and mystery of twilight and dawn, the white heat of the noon tide, and the diffused light of our grey northern skies.” The light of John Henry's teacher William McTaggert streams into his early work yet it does not evolve into the flickering  strokes of the Impressionists. The intentions of Claude Monet were considered “eccentric,” but he admired “good qualities of colour and air.” John Henry spent ten weeks in Paris with Carolus-Duran, who emphasised unified tone and whose “eternal injunction was ‘simplify things.’”

William James Lorimer, John Henry’s great nephew, reflected that the same particular British light and air of the East Coast, represented by John Constable in Suffolk, is depicted by John Henry in Fife. In my own dyed screen-prints, I strove to capture the same light which floods the paintings set at Kellie, less than two miles from my home. The birds which soar across the silk were made from arrangements of leaves and seeds gathered from the fields under the Scottish skies which inspired me.


View from Kellie Castle, John Henry Lorimer, Private Collection, Photo: © Charlotte Lorimer

Fife Birds (2013), Charlotte Lorimer, Private Collection, Photo: © Charlotte Lorimer




The Lorimers traveled extensively, sketching and painting as they went. John Henry Lorimer was one of many who copied ‘The Madonna of the Magnificat’ by Botticelli. He described Italy as “an enthralling wonderland of art” but wrote home that he had “quite abandoned the notion of staying on indefinitely,” suspecting that “a long stay would be a slow poison.” He travelled around Spain, Holland and France but always returned to Scotland and his family, though he never married or had his own children.

When Sir Robert Stodart Lorimer became a fellow of the Royal Institute of British Architects in 1906, his brother John Henry made a copy of his 1886 painting. Robert’s son Christopher was there when his uncle John completed the copy. John Henry reportedly described the two paintings as “two peas in a pod.”

His mother Hannah made a copy of the portrait by Sir Henry Raeburn of her grandfather Robert Stodart, who patented the first British grand piano in 1771. A Stodart piano came to Kellie when her grandson Hew was living there. The piano had been found in the stables at Wemyss Castle and exchanged for the pony trap which had been the only transport from Kellie during WWII.


Copy of Madonna of the Magnificat, Sandro Botticelli, Kellie Castle, Photo: © National Trust for Scotland

Sir Robert Stodart Lorimer (1905), John Henry Lorimer, Royal Institute of British Architects, Photo: © Royal Institute of British Architects

Copy of Portrait of Robert Stodart, Sir Henry Raeburn, Hannah Lorimer (née Stodart), Kellie Castle,

Photo: © Charlotte Lorimer