A curated collection of works which embody the autumnal mood. A broad collection showcasing chiaroscuro, neo-Gothicism, and contemporary darkness.
It is officially autumn, the season of golden browns, shadows, and burgundy. Across art, architecture, and design, it is the time where Baroque intricacies meet minimalist, dark palettes, paralleling the shorter days, decorated with golden foliage. But this season is more than just a shift in palette, it invites one to look closer at what is already there. Reflecting on the drama of the season, let me introduce you to some of my picks, works which trace the autumn mood rather than its clichés.
The armchair (circa 1690)
With Glasgow’s October fog embodying a sort of 17th century sombre gleam, it is the perfect time to take a trip to the Pollok Country Park. Though the Burrell Collection is home to many pieces of furniture, one which stands out in particular is an English Baroque walnut armchair. Its dark wood and heavy carving evoke the domestic richness of a candlelit room – a moody space which perfectly encapsulates an early November evening. It is an obscure choice, perhaps, but there is something distinctly autumnal about its weight and texture: the Baroque era knew how to celebrate shadow; walnut, with its chocolate color and smoothness, feels emblematic of the colder months, and the chair’s classic opulence, noted through its embellishments, lends a touch of theatricality. To me, this is what autumn is about – the dramatic change in weather, often used as a dramatic device in literature, in design is characterized through a classic eclecticism, which this armchair embodies. This piece defines Baroque furniture in a seasonal darkness.
The Gilbert Scott Building (completed 1891)
There’s a certain kind of building that feels made for the autumn light. The Gilbert Scott, with its distinct neo-Gothic silhouette, stands at the forefront of our everyday landscape. The iconic tower seems to absorb the season, with rust and umber deepening as the days shorten and shadows folding into its carved surfaces. Its weight and symmetry, to me, underscore the routine university life which we reenter with the start of the season. The “main building,” as it’s often referred to, is certainly the center of autumnal atmosphere in the city, its dark and ornate façade invites students to appreciate foggy Glasgow, as it provides the perfect backdrop for dark, weathered brick. The building being directly in front of the library allows students to revel in Glasgow’s emblem of the “dark academia” aesthetic, which comes into play with the season and fast-approaching deadlines.
Natasja Kensmil, Clara Abba (2021)
No one does moody like the Dutch, evident even through contemporary works; a Rembrandt-era darkness which emphasizes the emotional depth of the season. However, my third pick, Clara Abba, a portrait by Natasja Kensmil, detaches itself from the Dutch canon of golden shadows, focusing instead on dark neutrals, muted blues, bruised greys. To me, this impasto, haunted masterpiece showcases the tension between reverence and unease – with its surface being almost sculptural: layered with thick pigment and spectral outlines, Kensmil’s piece shouts Halloween. The figure appears present, yet half-erased, illustrating a sort of Woman In Black eeriness. To me, Kensmil’s work mirrors the psychological atmosphere of autumn: transitional and introspective. Clara Abba’s cooler palette emblematizes the season’s emotional darkness.
Sabrina Buckler, Private Lives (2024)
Another contemporary piece in my selection, on sale today at BEERS London Gallery – Sabrina Buckler’s Private Lives. Buckler’s work stands out as an unexpected but fitting inclusion. The use of cat motifs, rugs, and pomegranates, she carries a domestic mysticism that feels right for this time of year. Buckler’s imagery showcases a sort of contemporary still life, speaking to the private rituals of the season: the return to familiar spaces and routine, cozy nights-in. The softness of the glazing paired with the rug on the table is inviting, the stillness of the piece mimics the slow-paced tone of the season. Buckler uses this in a way which allows one to appreciate the quotidian, a simple composition evokes a feeling of warmth and familiarity. With the chaos of summer gone, Private Lives does a wonderful job at capturing the essence of autumnal domesticity, which many of us appreciate during the colder months.
Caravaggio, Saint Jerome Writing (1605/6)
No autumn reflection feels complete without acknowledging Caravaggio: the undisputed master of chiaroscuro. In Saint Jerome Writing, the scholar’s red robe jumps out from the sea of darkness. With red being the focal color of the piece, it is, undoubtedly, the most iconic “autumn” piece in my selection. When I think of the season, I often think of blacks and reds, perhaps I should blame Armani Privé’s AW 2014 show, but similarly to the contemporary, Caravaggio’s classic chiaroscuro captures not only the visual drama of the season but, like the rest of my chosen pieces, a look inward. There’s intimacy in the scene: the candlelit, quiet, encapsulates an autumnal solitude. Though the light brings clarity, the darkness allows one to revel in the details, the painting is a reminder that the season’s deep tones and stark contrasts can be a reminder of personal intensity.
Whether in the carved tracery of a familiar building or the dark bloom of a painting, the season reveals its character through contrast. Though these references are personal, of course, I invite you to curate your own autumn edit by simply slowing down and seeing your surroundings as art in progress.
