BATTERED by wind and rain with only occasional glimpses of searing rays of sunshine, the coastline of the Hebridean islands is as popular as ever with artists.

There's no need to venture into the great outdoors to appreciate the west coast's ever-changing skyline, it features in some of the work on show in the winter exhibition at Glasgow Art Club.

There is no better example than Birth of the Blues by art club gallery convener Philip Raskin, which captures the mood, light and textures of the landscape.

"It's a mixture of impasto technique, using heavy paints to depict the foreshore and the waves, and a thinner technique to get the luminosity of the sky and the light," he explains. "I'm known for painting west coast seascapes and sell all over Britain."

To get inspiration, the Strathaven-based artist makes location visits, then works from his studio.

"Some are generic scenes but I do get lots of commissions and if I get a commission for a specific place I will work from a photograph, to get the physical topography and geography correct.

"Then I imbue it with my own interpretations.

"Otherwise my work is a bit of an amalgam, a distillation of memories. It's all about light, capturing the light: whether you realise it or not, what draws you towards the painting is always the light."

An annual showcase of work by its talented artist members, the show has gained a reputation as being one of the must-­see exhibitions of the winter calendar.

Art club president Robert Kelsey has also taken as his theme the startling Scottish coastline in A Deserted Beach on Harris. "I'm best known for this type of Hebridean seascape," he says. "The beaches on Harris are amazing. It's almost like the moon, it's so barren and wild but when you get to the beaches there are miles of glorious sand."

Robert has a family link with the Hebrides he can trace back to the turn of the last century when his grandparents moved from the north of England to take up teaching posts in Barra. His father and two uncles were born on the island before the family returned to the mainland in the early 1900s.

His other work on show is Hammersmith Nocturne, an example of the increasing number of paintings of London since he started selling work at Thompson's gallery in Marleybone.

A view of Hammersmith Bridge at twilight, it sensitively captures the changing colours as the day fades to night and lights twinkle on the bridge over the Thames.

"We stayed in Hammersmith Mall, right on the Thames, it's almost like a promenade that runs along the river," he says. "It's a beautiful part of the city. Hammersmith Bridge is an amazing cast iron structure with green and gold towers, it's wonderful."

FROM sketches and drawings made on location, Paisley-based Robert goes back to his studio to flesh out his pictures.

One of the younger members exhibiting in the winter show is Frank To, with paintings from his Dante's Divine Comedy show earlier this year that uses Glasgow as the backdrop to Hell to portray the Inferno, with each painting reflecting the character of a Glasgow Subway station.

There's a dark presence to Helter Skelter Watch Tower, based on the structure that adorns the winter festivities at George Square.

"That represents the tower after Dante and Virgil cross the river," he reveals. "I've taken something that's joyful and made it much deeper and a bit darker. I'm very much inspired by film noir. I'm known as a dark painter but I like to be quite subtle about things."

Other work on show features Glasgow trams in the contrasting styles of brothers Paul and Adam Kennedy, and offerings by Joe Hargan, Jane Gardiner, Pam Carter, Gerard Burns and Conrad McKenna, at 91 the longest-serving member of the art club.

Glasgow Art Club Winter Exhibition, 185 Bath Street, until January 11.