the medieval Sienese paintings which impressed her on her first trip abroad. At this time she first discovered the richness of Catholic imagery (unfamiliar to a young woman brought up as a Scottish Protestant), a theme explored in her later work. She and a group of her contemporaries are sometimes called The Edinburgh School. They may be seen as the "heirs" of the Scottish Colourists: Redpath's The Orange Chair, for example, suggests the Colourist heritage. During her years in France (1920–1933), Redpath's painting was limited by family commitments, but she produced enough for exhibitions in 1921 and 1928. She also decorated furniture with bright flower and bird patterns. (See Still Life with Painted Chest) Later there would be many paintings of flowers: in vases, or growing abundant in the wild. (The Poppy Field) Redpath became heavily influenced by the likes of Matisse and Bonnard. On her return to Scotland in 1934, she started to sketch the countryside round Hawick, and painted landscapes with a more muted look than much of her work: Frosty Morning, Trow Mill (1936), for example. In the early 1940s The Indian Rug showed that she was developing the freer, individual approach described above. Other works representing this style include The Mantelpiece and Still Life with Table. Her circa 1943 self-portrait was solicited by Ruth Borchard, who created a collection of 100 self-portraits of modern British artists. Redpath sent Borchard the painting in 1964, taking care to mark the date as 1943 because she did not want people to think she had painted herself as 20 years younger. A friend who traveled to Spain with Redpath in 1951 described her appearance: "Anne looked like Queen Victoria; black hair correctly parted in the centre and bun behind, but she wore colours!" The formal severity of the portrait is similarly mitigated by touches of colour in the same way as her father had introduced threads of vivid colour in his otherwise sober tweeds. Window in Menton, painted in 1948, a favourite of Redpath's, is also a richly-textured surface with familiar elements - flowers, chair, printed wallpaper - but here a seated woman looks towards an open full-length window. The view is of a hillside patterned with houses and trees. Redpath painted more hillsides, like Les Tourettes (1962), as she travelled in the later years of her life, but her interest was still often interior. Her Courtyard in Venice (1964)