Search results for ""national galleries of scotland""

The National Galleries of Scotland comprises threegalleries: the Scottish National Portrait Gallery, Scottish National Gallery ofModern Art and the Scottish National Gallery. Together these galleries houseone of the finest collections of art to be found anywhere in the world, rangingfrom the thirteenth century to the present day. Many of the greatest names inWestern art are represented by major works, from Titian, Rembrandt and Vermeerthrough to Picasso, Hockney and Warhol. This lavishly illustrated book containsone hundred of the National Galleries of Scotland's greatest and best-lovedtreasures. The selection made by the Director-General Sir John Leighton isintended to evoke the special character of the collection at the NationalGalleries with its distinctive interplay between Scottish and international artas well as the many conversations that it establishes between the art of thepast and the present.

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This beautiful colouring and drawing book contains intricate illustrations, decorative details and a fabulous fold-out map. This is the perfect starting point for your art adventure around the National Galleries of Scotland. Colour in the buildings, draw your favourite artworks and add your friends and family into your pictures.

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Benjamin West's "The Death of the Stag", a tour de force of pictorial theatre and his own unique Scottish masterpiece, has been the focus of high drama for over two centuries. Painted for the Clan Mackenzie in 1786, the gigantic canvas, measuring twelve by seventeen feet, is still the largest in the collection of the National Galleries of Scotland. The painting almost left these shores for America, but after a successful campaign, it was purchased in 1987. In 2004, the work was conserved in situ in the National Gallery of Scotland and this book tells the story of the picture, both in terms of its history and the conservation process.

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This lecture was given by Neil Cox of the University of Essex, one of Britain's leading scholars of Cubism and Surrealism, and a particular authority on Picasso, approaching the Spaniard's work from intriguing angles. He concentrates on a single work, Picasso's "Head" of 1913, and in doing so demonstrates how scrupulous focus can open out challenging perspectives in the work of a great master. Established following the 125th anniversary of the foundation of the Chair of Fine Art at the University of Edinburgh and named after the painter Sir John Watson Gordon, the "Watson Gordon Lectures" typify the longstanding and positive collaboration between the University of Edinburgh and the National Galleries of Scotland: two partners in the Visual Arts Research Institute in Edinburgh.

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Pioneering Edinburgh photographers David Octavius Hill (1802-1870) and Robert Adamson (1821-1848) together formed one of the most famous partnerships in the history of photography. Producing highly skilled photographs just four years after the new medium was announced to the world in 1839, their images of people, buildings and scenes in and around Edinburgh offer a fascinating glimpse into 1840s Scotland. Their much-loved prints of the Newhaven fisherfolk are among the first images of social documentary photography.In the space of four and a half years Hill and Adamson produced several thousand prints encompassing landscapes, architectural views, tableaux vivants from Scottish literature and an impressive suite of portraits featuring key members of Edinburgh society.Anne M. Lyden, International Photography Curator at the National Galleries of Scotland, discusses the dynamic dispute that brought these two men together and reveals their perfect chemistry as the first professional partnership in Scottish photography. Illustrated with around 100 masterpieces from the Galleries' unique, vast collection of the duo's ground-breaking work.

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Selection of Flemish drawings from the National Galleries of Scotland which offer an insight into the artistic processes of revered artists. The book accompanies an exhibition which will be held at the Scottish National Gallery in Edinburgh from June to September 2016.

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Pioneering Edinburgh photographers David Octavius Hill (1802-1870) and Robert Adamson (1821-1848) together formed one of the most famous partnerships in the history of photography. Producing highly skilled photographs just four years after the new medium was announced to the world in 1839, their images of people, buildings and scenes in and around Edinburgh offer a fascinating glimpse into 1840s Scotland. Their much-loved prints of the Newhaven fisherfolk are among the first images of social documentary photography. In the space of four and a half years Hill and Adamson produced several thousand prints encompassing landscapes, architectural views, tableaux vivants from Scottish literature and an impressive suite of portraits featuring key members of Edinburgh society. Anne M. Lyden, International Photography Curator at the National Galleries of Scotland, discusses the dynamic dispute that brought these two men together and reveals their perfect chemistry as the first professional partnership in Scottish photography.

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The Monarch of the Glen by Sir Edwin Landseer (1802 1873) is one of the most celebrated paintings of the nineteenth century. It was acquired by the National Galleries of Scotland in 2017. In this new book, the first to focus in detail on this iconic picture, Christopher Baker explores its complex and fascinating history. He places Landseer's work in the context of the artist's meteoric career, considers the circumstances of its high-profile commission and its extraordinary subsequent reputation. When so much Victorian art fell out of fashion, Landseer's Monarch took on a new role as marketing image, bringing it global recognition. It also inspired the work of many other artists, ranging from Sir Bernard Partridge and Ronald Searle to Sir Peter Blake and Peter Saville. Today the picture has an intriguing status, being seen by some as a splendid celebration of Scotland's natural wonders and by others as an archaic trophy. This publication will make a significant contribution to the debates that it continues to stimulate. The painting will tour to four Scottish venues in late 2017 and early 2018 (Inverness Museum & Art Gallery, 6 October - 19 November 2017; Perth Museum and Art Gallery, 25 November 2017 - 14 January 2018; Paisley Museum and Art Gallery, 20 January - 11 March 2018; Kirkcudbright Galleries, 25 March - 12 May 2018).

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"Nicholson's Scottish paintings encapsulate her concerns with light, radiance and harmony which she expressed through flowers and the lyricism of the natural landscape." - The Independent. Throughout her long and varied career, Winifred Nicholson (1893-1981) was concerned with light, colour and radiance. Best known for her sensitive and joyful flower paintings, she married Ben Nicholson in 1920 and their mutually influential artistic relationship lasted, despite separation, until Winifred's death. In the late 1940s and early 1950s, she made regular working trips to Scotland, often accompanied by the poet, Kathleen Raine. Frequently staying on the islands of Eigg and Canna and in Sandaig on the mainland, Winifred felt a deep affinity with the Scottish landscape and marvelled at the quality of light and the effects created by the ever-changing weather conditions. Her last painting expedition was to Eigg in 1980. Winifred Nicholson in Scotland is based on personal correspondence and the recollections of relatives, friends and painting companions. The book examines Winifred Nicholson's love for Scotland and illustrates her Scottish paintings.

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William Bell Scott’s screen, The King’s Quair, was commissioned by James Leathart, an important collector of Pre-Raphaelite art. The beautifully decorated folding screen took as its inspiration The Kingis Quair, a 15th-century Scots poem attributed to James I of Scotland. Depicting key scenes from the king’s 18-year imprisonment in Windsor Castle, it is adorned by exquisite botanical details and gold leaf. Split into three parts, this book reveals the history of the screen’s commission, details the remarkable imagery of the screen itself, and finally situates the screen in its historical context by explaining the fascinating personal relationships that were the backdrop to its creation, including Scott’s relationship with the artist and heiress Alice Boyd. Drawing together the chivalric medieval tale of an imprisoned, love-struck king with the vibrancy of the Pre-Raphaelite social circles in which Scott moved, the reader is given a vivid picture of how this captivating artwork was created. Illustrated with new photography of the screen, this book is a vital new part of the story of British, as well as Scottish art.

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In this book, Joseph Masheck re-examines the spiritual in Mondrian's art and proposes a parallel between the equilibrium found in his paintings and his writings on theological justification. The artist's Calvinist Christianity is considered in respect to the balanced, asymmetrical works of his 'classic' phase of the 1920s and 1930s, and potential parallels with the writings of an important Dutch theologian of the Neo-Calvinist movement are explored. Finally, the author follows Mondrian's classic phase into the 1930s and beyond, in this extraordinary and inspiring reassessment of one of the fathers of abstract art.

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Through the early works of Andy Warhol and Eduardo Paolozzi, this book traces the development of their deep obsession with the machine. Looking at the way that both artists began in the late 1940s and the years following, the book illustrates their fascination with popular culture and the methods that they used in creating their art. Common to all their methods of making works was their hand-made quality. Only in the 1960s did the artists make the step to mechanical means to create their own artworks, resulting in the iconic images that are integral to our culture. As Warhol said of himself, there is only surface, with nothing underneath.

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Revealing an alternative story of modern Scottish art, A New Era examines the most experimental work of Scottish artists during the first half of the 20th century. It challenges the accepted view of the dominance of the Scottish Colourists and uncovers the hitherto little-known progressive Scottish art world. Through these works, we can see the commitment of Scottish artists to the progress of art through their engagement and interpretation of the great movements of European modern art, from Fauvism and Expressionism, to Cubism, Art Deco, abstraction and Surrealism, among others. Looking at the most advanced work of high-profile artists such as William Gillies and Stanley Cursiter, and lesser-known talents, like Tom Pow and Edwin G. Lucas, A New Era takes its name from the group established in Edinburgh in 1939 to show surreal and abstract work by its members.

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With vivid memories of his first visit to the Scottish National Gallery in the 1970s and his initial encounter with Hugo van der Goes' The Trinity Altarpiece, Rembrandt's A Woman in Bed, Velazquez's An Old Woman Cooking Eggs and Degas' Diego Martelli, Robert Storr discusses the shifting balance of museum collections from historically 'certified' classics to art whose status and significance remains in active contention and from singular 'treasures' to ensembles that speak to the larger scope of an artist's endeavour. Also Available: Unfinished Paintings: Narratives of the Non-Finito Watson Gordon Lecture 2014 (ISBN 9781906270919), 'The Hardest Kind of Archetype': Reflections on Roy Lichtenstein The Watson Gordon Lecture 2010 (ISBN 9781906270384), Picasso's 'Toys for Adults' Cubism as Surrealism: The Watson Gordon Lecture 2008 (ISBN 9781906270261), Sound, Silence, and Modernity in Dutch Pictures of Manners The Watson Gordon Lecture 2007 (ISBN 9781906270254), Roger Fry's Journey From the Primitives to the Post-Impressionists: Watson Gordon Lecture 2006 (ISBN 9781906270117).

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Scotland has produced an astonishingly high number of men and women whose lives have inspired and changed the world. This book, illustrating just over forty portraits, represents only a few of them, but with Robert Burns and Walter Scott, Eric Liddell and Alex Ferguson, Bonnie Prince Charlie and Queen Victoria, it represents the flavour of the collection at the Scottish National Portrait Gallery.

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The North Sea oil industry plays a vital role in the UK economy. Oil was first pumped ashore thirty years ago and based on current estimates there are still thirty further years of oil reserves to be claimed from the sea. This exhibition aims to capture the vibrant community of people working throughout the sector. Scottish portrait painter Fionna Carlisle will create 24 new portraits representing a cross section of the people working in the oil industry, from employees of major international corporations to the self-employed. There are portraits of geologists, rig-builders, economists, helicopter pilots, the technical and service staff on the rigs themselves, and many others - all of whom have been chosen to represent the many aspects of this vital industry.

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Known today for his atmospheric views of the river Oise, Charles Francois Daubigny was a pioneer of modern landscape painting and an important precursor of French Impressionism. Although commercially highly successful he was often criticised for his broad, sketch-like handling and unembellished view of nature, and was dubbed the leader of 'the school of the impression'. As a result he drew the attention of the next generation of artists, among them Claude Monet and Vincent van Gogh, who were inspired by Daubigny's frank naturalism, bold compositions and technical innovations. Theirs was an artistic dialogue which spanned thirty years, from the early 1860s to the end of Van Gogh's short life.

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Arthur Melville was arguably the most innovative and modernist Scottish artist of his generation and one of the finest British watercolourists of the nineteenth century, yet he avoided categorisation. In 1943 that the Scottish Colourist John Duncan Fergusson confessed that although they never met, "his work opened up to me the way to free painting - not merely freedom in the use of paint, but freedom of outlook". This book offers a comprehensive survey of Arthur Melville's (1855-1904) rich and varied career as artist-adventurer, Orientalist, forerunner of The Glasgow Boys, painter of modern life and re-interpreter of the landscape of Scotland. His travels inspired spectacular watercolours and paintings. This book illustrates around sixty of his works, each with a catalogue entry, and an essay by Kenneth McConkey, which discusses Melville's art and career.

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A unique insight into the ways in which one of today's leading artists is inspired by great works of the past. In 16 emphatically modern new paintings, renowned artist, Alison Watt, responds to the remarkable delicacy of the female portraits by eighteenth-century Scottish portraitist, Allan Ramsay. Watt's new works are particularly inspired by Ramsay's much-loved portrait of his wife, along with less familiar portraits and drawings. Watt shines a light on enigmatic details in Ramsay's work and has created paintings which hover between the genres of still life and portraiture. In conversation with curator Julie Lawson, Watt discusses how painters look at paintings, explains why Ramsay inspired her, and provides unique insight into her own creative process. Andrew O'Hagan responds to Watt's paintings with a new work of short fiction and art historian Tom Normand's commentary explores further layers of depth to our understanding of both artists.

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Victoria Crowe is one of the world's most vital and original figurative painters. Her instantly recognisable work is represented in a large number of public and private collections. This extensively illustrated new book looks in depth at some of her own favourite portraiture. Looking at the psychology of her subjects and of herself in painting them, this is a fascinating book. Whether you are intrigued by the enigmatic stare of a psychiatrist, struck by the haunted eyes of an Auschwitz survivor or curious about the meaningful surroundings of her own self-portrait, this is an absorbing and enthralling read. Victoria Crowe lives in Scotland and Venice.

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This absorbing introduction to the story of Rembrandt's rampant fame and influence in Britain is filled with beautiful images. The story of 'Rembrandt mania' began in 18th-century Britain with passionate, and often eccentric, collectors acquiring artworks by any and every means. As the craze for Rembrandt ebbed and flowed, each new wave of enthusiasm brought him ever-greater fame and influence, and collectors became increasingly ingenious. This master's impact not only on collectors and the public but also on British artists over the last four centuries is explored, with lavish paintings, drawings and prints from artists such as Henry Raeburn, Joshua Reynolds and James Abbott McNeill Whistler shown alongside some of Rembrandt's most famous masterpieces.

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This is the exceptionally rich story of Rembrandt’s fame and influence in Britain. No other nation has witnessed such a passionate – and sometimes eccentric – craziness for Rembrandt’s works. His imagery has become ubiquitous, making him one of the most recognised artists in history. In this book, the world’s leading experts reveal how the taste for Rembrandt’s paintings, drawings and prints evolved, growing into a mania that gripped collectors and art lovers across the country. This reached a fever pitch in the late 1700s, before the dawn of a new century ushered in a re-evaluation of Rembrandt’s reputation and opportunities for the wider public to see his masterpieces for themselves. The story of Rembrandt’s profound and inspirational impact on the British imagination is illustrated by over 130 lavish paintings and drawings by the master himself, as well as by some of Britain’s best-loved artists, including William Hogarth, James Abbott McNeill Whistler, Eduardo Paolozzi and John Bellany.

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Calum Colvin is one of Scotland's most innovative and exciting contemporary photographers. In his work he creates a kaleidoscope of figures, symbols and ideas, which are blended into the most vibrant and stimulating images. With this project, Colvin has explored the mysterious world of Ossian. Ossian, a third century Celtic bard, was first discovered by James MacPherson, himself a poet but also a cultural entrepreneur and an adventurer. MacPherson published the ballads of Ossian in the years after 1760. These mournful elegies to the lost world of the Gael became a cause celebre in Enlightenment society. On the one hand, MacPherson was hailed as the discoverer and translator of a "Celtic Homer", while on the other, he was accused by Samuel Johnson, of having perpetrated a cruel fraud on the public. While this dispute rumbled on, the poems of Ossian became feted throughout Europe and America and touched the art of poets, writers and composers such as Burns, Goethe, Longfellow and Mendelssohn. Colvin has taken these events as the basis for his surreal meditation on contemporary culture. Through the ideas and associations inspired by MacPherson's Ossian, he has produced a discourse on national identity, "authenticity" and the human psyche. It is characteristic of Colvin that he has successfully explored these difficult themes while simultaneously creating accessible, provocative photographs.

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"The Turner Prize winner leads a visual tour through his life in six artworks - from college days to knighthood." — Telegraph Grayson Perry is one of Britain’s most celebrated contemporary artists and cultural figures. This book, which includes first sight of new and previously unpublished works, is published to accompany the largest-ever retrospective of Perry’s art. It offers a vibrant insight into his life and work, from his youth in rural Essex to sell-out stage shows at the Royal Albert Hall. Grayson Perry vividly reflects on his art, life and career, remembering the sources of inspiration and influences along the way. Victoria Coren Mitchell’s thought-provoking contribution considers the role of humour in Perry’s art, highlighting the often-underestimated effort involved in being at once a serious artist and a lovable character. Patrick Elliott provides an illuminating biographical essay of the artist. The reader is also given a fascinating glimpse into the technique and process behind Perry’s prints, pots and tapestries. Showcasing 75 exhibited works, the book covers the full range and breadth of his astonishing career.

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Joan Eardley (1921-1963) is one of Scotland's most admired artists. During a career that lasted barely fifteen years, she concentrated on two very distinct themes: children in the Townhead area of central Glasgow, and the fishing village of Catterline, just south of Aberdeen, with its leaden skies and wild sea. The contrast between this urban and rural subject matter is self-evident, but the two are not, at heart, so very different. Townhead and Catterline were home to tight-knit communities, living under extreme pressure: Townhead suffered from overcrowding and poverty, and Catterline from depopulation brought about by the declining fishing industry. Eardley was inspired by the humanity she found in both places. These two intertwining strands are the focus of this book, which looks in detail at Eardley's working processes. Her method can be traced from rough sketches and photographs through to pastel drawings and large oil paintings. Identifying many of Eardley's subjects and drawing on unpublished letters, archival records and interviews, the authors provide a new and remarkably detailed account of Eardley's life and art.

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This revelatory book concentrates on Scottish women painters and sculptors from 1885, when Fra Newbery became Director of the Glasgow School of Art, until 1965, the year of Anne Redpath's death. It explores the experience and context of the artists and their place in Scottish art history, in terms of training, professional opportunities and personal links within the Scottish art world. Celebrated painters including Joan Eardley, Margaret Macdonald Mackintosh and Phoebe Anna Traquair are examined alongside lesser-known figures such as Phyllis Bone, Dorothy Johnstone and Norah Neilson Gray, in order to look afresh at the achievements of Scottish women artists of the modern period. The book accompanies a show which will be held at the Scottish National Gallery of Modern Art Two in Edinburgh from 7 November 2015 to 26 June 2016.

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J. D. Fergusson (1874-1961) is one of the four artists known as the Scottish Colourists, the others being F. C. B. Cadell, G. L. Hunter and S. J. Peploe. Fergusson was born in Leith, and was essentially a self-taught artist. In Paris 1907 he became involved with the avant-garde scene and exhibited at the progressive Salon d'Automne. More than any of his Scottish contemporaries, Fergusson assimilated and developed the latest developments in French painting. In 1913 Fergusson met the dance pioneer Margaret Morris (1891-1980). Morris's creative dance movements and her students continued to be one of Fergusson's main sources of inspiration and models. In 1929 Fergusson returned to Paris where he was involved with the Anglo-American art circles. Most summers were spent in the south of France where Morris held her celebrated Summer Schools. The couple moved to Glasgow in 1939 being founder members of the New Art Club and of its off-shoot the New Scottish Group. This book reasserts the artist's place at the forefront of British modernism.

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Established following the 125th anniversary of the Chair of Fine Art at the University of Edinburgh and named after the painter Sir John Watson Gordon, the Watson Gordon Lectures Typify the long-standing positive collaboration between the University of Edinburgh and the National Galleries of Scotland: two partners in the Visual Arts Research Institute in Edinburgh. The fifth lecture was given by Hal Foster of Princeton University. Professor Foster is an acknowledged expert on modernist art and architecture, and has a particular fascination with Pop art. His wide-ranging lecture on Roy Lichtenstein is a gripping engagement with the multiple aspects of the artist's work: the conjunctions of art and technology, the satirical playing with previous modernist styles, and the sinister background of the military-industrial complex.

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Since taking the helm of the National Galleries of Scotland in 1984, Sir Timothy Clifford has overseen the acquisition of some of the finest, and best-loved works in the national collection. This book chronicles the development of the collection under his directorship and casts light upon the wide range of acquisitions, including the fascinating stories behind their purchase. Lavishly illustrated, highlights of the book include The Virgin Adoring the Sleeping Christ Child by Botticelli, The Three Graces by Canova (purchased jointly with the Victoria and Albert Museum, London), and the most recent major acquisition, Venus Anadyomene by Titian. Works from the Scottish National Gallery of Modern Art's internationally renowned Surrealist collection are also featured, as well as paintings from the Scottish National Portrait Gallery.

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The National Galleries of Scotland is home to the most important collection of Scottish art in the world. This beautifully illustrated book introduces the collection through 100 works, specially chosen by the curatorial team who care for them. The selection ranges chronologically from a 16th-century portrait of a Scottish king to 21st-century installations and prints. Some of the most famous painters in Scotland’s history feature alongside some of the finest artists working in Scotland today. Many of the most distinctive movements in Scotland’s artistic heritage are represented, including the Celtic Revival, Arts and Crafts, the Glasgow Boys and the Scottish Colourists. Each of the 100 works is reproduced alongside a text by one of 23 expert contributors. The introduction gives an overview of the collection and Scottish art history more broadly. It is perfect for those who already love Scottish art, and those who are yet to discover its riches.

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In 1951, Joan Eardley visited the coastal fishing village of Catterline in north-east Scotland for the first time. Her visit sparked a fascination that would last the rest of her life. She made the village her home and found inspiration in the dramatic light and rapidly changing weather. The gentle landscapes and wild rolling seascapes she painted of Catterline in wind, snow, rain and sun are among her best-loved works. Unpublished archival material and interviews with many of those who knew her shed new light on Eardley’s life in Catterline. A vivid portrait is painted both of Eardley and of the village, showing the vital part Catterline played in her development as an artist. The story of her experiences on the wild Scottish coast is evocatively told and beautifully illustrated with some of her most remarkable drawings and paintings.

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A collection of essays which look in depth at the political, economic, scientific, religious and art historical context for this complex and often contradictory period in Monet's lfie.

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The Darnley jewel, a masterpiece of the goldsmith's art on display at Edinburgh's Holyrood Palace, has been deemed a love token, but has also been labelled an emblem of political ambition. Taking the shape of a heart, the jewel was produced at a moment (1565-75) when such objects worn by courtiers were a primary means of asserting status and proclaiming allegiances. With a deep medieval history - originally the fleshly power centre of the human body, the seat of the soul, and place of memory and emotion - the heart has many aspects to offer. This book shows how the understanding of the heart changed during the Middle Ages, from spiritual locus of the body, to source of devotion to country, and finally, to the font of love and sentimentality.

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Caravaggio's astonishingly naturalistic and provocative Cupid Victorious hung in the palace of a famous family at the heart of seventeenth-century Rome. Helen Langdon explores how the artist, famed for his originality, created a balance between a suggestion of his own world - a world of lively and rowdy street life - and a complex and ambiguous response to both ancient and Renaissance art and literature. Langdon also looks at the challenge the painting threw out to contemporary painters, whose world was characterised by extreme and bitter rivalries; often they reject his irony, sometimes embellish the painting's sexuality, and at other times convey an opposing sense of the harmony of the arts.

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This richly illustrated publication explores the work of contemporary artist Nathan Coley. It offers a detailed look at three of his most significant sculptural works: The Lamp of Sacrifice, 286 Places of Worship, Edinburgh 2004, 2004; Paul, 2015; and Tate Modern on Fire, 2017, which is reproduced and discussed here for the first time. In a newly commissioned text, award-winning novelist, screenwriter and director Ewan Morrison focuses on these three sculptures to explore the complexity and ambiguity of Coley's artistic practice. Morrison brings into play different narrative forms and voices to draw attention to the realms of history, art history and politics that Coley's work inhabits, as well as the deeply personal responses that Coley's work can generate. This book accompanies the exhibition NOW at the Scottish National Gallery of Modern Art, Edinburgh (25 March to 24 October 2017).

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This book will accompany the first major solo exhibition of Douglas Gordon''s work in Scotland since he presented his now celebrated work, 24 Hour Psycho at Tramway in Glasgow in 1993. Gordon is one of a number of Glasgow-trained artists who came to prominence in the 1990s. He has gone on to achieve huge international recognition, marked by major awards, including the Turner Prize in 1996, and by exhibitions in museums in Europe and America. Gordon works with film, video, photographs, objects and texts, examining issues such as memory and identity, good and evil, life and death. He makes great play with the doubling of images often in positive and negative or in mirrored form. This book will show all the important aspects of Gordon''s work, both past and present. In addition, it will be specially tailored to bring out the particularly Scottish nature of Gordon''s ideas and practice.The exhibition book will contain essays by the exhibition curator, Keith Hartley, senior cu

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Portrait Miniatures from the Merchistion Collection is the fifth in a series of titles which examines the portrait miniature. This collection, which has never been on public display, was assembled on the London art market during the 1970s and 1980s. Scottish miniaturists from the late eighteenth and early nineteenth centuries are particularly well represented with fine works by Scouler, Bogle, and Skirving and Sir William Charles Ross. Of outstanding interest is Nicholas Hilliard's matching pair of tiny lockets of Queen Elizabeth and her admirer Robert Dudley, Earl of Leicester. Stephen Lloyd's essay discusses the formation of the collection and the impact of the invention of photography on the art of miniature painting. It also explores the social history of the miniature. Twenty of the key works are illustrated in colour, with extended captions, and a complete list of the collection is also included.

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'A Shpeherd's Life' focuses on Jenny Armstrong, born in 1903 at the farm in Fairliehope, who spent her life working a s a shepherd in the Pentland Hills. In a series of remarkable paintings made over 20 years and based on close observation, Victoria Crowe, one of Scotland's foremost painters, pays tribute to the life and work of an exceptional woman. in spite of their different ages and backgrounds, the two women came to value each other's company and it was through the shepherd that the artist learned how to interpret the surrounding landscape. At the same time the paintings depict an ancient way of living that has been long in decline and which, at the atart of a new millennium, may be finally disappearing.

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This landmark book reflects on almost 70 years of works by Bridget Riley (b.1931), from some of her earliest to very recent projects, providing a unique record of the work of an artist still very much at the height of her powers. Essays from leading scholars and commentators on Riley's work will make this title the authority on Riley's practice. In the last decade, Riley has continued to push her practice considerably, producing several large-scale site-specific wall paintings as well as continuing to develop new paintings. This book will explore these recent developments. It will also examine the notable influence that other artists such as Georges Seurat and Piet Mondrian have had on Riley's work.

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Raqib Shaw is one of the most extraordinary and sought-after artists working in the world today. Born in Calcutta in 1974 and raised in Kashmir, he came to London to study in 1998 and has lived there ever since. Inspired by a broad range of influences, including the old masters, Indian miniatures, Persian carpets and the Pre-Raphaelites, his paintings are infused with memories and longing for his homeland in Kashmir. His technique constitutes a completely unique kind of enamel painting. Spending months on preparatory drawings, tracings and photographic studies, he then transfers the composition onto prepared wooden panels, establishing an intricate design with acrylic liner, which leaves a slightly raised line. He adds the enamel paint using needle-fine syringes and a porcupine quill, with which he manoeuvres the paint. The finished works are intricate, magical and breathtaking in their colour and complexity. This book accompanies an exhibition of eight paintings by Raqib Shaw at the Scottish National Gallery of Modern Art, alongside two paintings which have long obsessed him and have influenced specific works: Sir Joseph Noel Paton's The Quarrel of Oberon and Titania, 1849 (National Gallery of Scotland) and Lucas Cranach's An Allegory of Melancholy, 1528 (private collection). The book includes the first full-length biographical study of the artist.

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Collage is one of the most popular and pervasive of all art-forms, yet this is the first historical survey book ever published on the subject. Featuring over 200 works, ranging from the 1500s to the present day, it offers an entirely new approach. Hitherto, collage has been presented as a twentieth-century phenomenon, linked in particular to Pablo Picasso and Cubism in the years just before the First World War. In Cut and Paste: 400 Years of Collage, we trace its origins back to books and prints of the 1500s, through to the boom in popularity of scrapbooks and do-it-yourself collage during the Victorian period, and then through Cubism, Futurism, Dada and Surrealism. Collage became the technique of choice in the 1960s and 1970s for anti-establishment protest, and in the present day is used by millions of us through digital devices. The definition of collage employed here is a broad one, encompassing cut-and-pasted paper, photography, patchwork, film and digital technology and ranging from work by professionals to unknown makers, amateurs and children. Published to accompany an exhibition at the National Gallery of Scotland, June-October 2019.

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A vibrant, colourful and beautiful book that introduces readers to Impressionism and Post-Impressionism. It explains the difference between the two movements and the main artists associated with each. Illustrations are drawn from the renowned and outstanding collection of French art held by the National Galleries of Scotland and they include a number of rarely seen works. This book tells the fascinating stories of how key paintings and drawings found their way into the collection. Artists include Monet, Millet, Gauguin, Bastien-Lepage, Charles Jacque, Troyon, Corot, Degas, Seurat, Van Gogh, Cézanne, Vuillard, Bonnard, Derain, Matisse, Legros and Rodin.

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Celebrates the 200th anniversary of the birth of Sir Francis Grant.

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"The richness of the illustrations in this larger format enables us to better appreciate the intricacy of her illuminated manuscripts, the tonal subtleties of Traquair's tooled leather book bindings and the processional scale of her muraled interiors." — Journal of the Scottish Society for Art History A fully updated and expanded edition of the definitive study of Phoebe Anna Traquair. This is a compelling account of the life and career of Phoebe Anna Traquair, a leading figure in Britain’s Arts and Crafts movement. The new edition features new research about her artistic practice, materials and technique as well as her intellectual life, including her correspondence with John Ruskin. Her total commitment to the place of art in her daily life is revealed alongside new details on her family and social life. Traquair was remarkable for her openness to all types of art, and worked in a range of media including embroidery, enamels, illuminated manuscripts and murals. This new edition features 120 illustrations including new discoveries, as well as some of her most famous and best-loved works. Beautifully illustrated and featuring the artist’s own words, this book is at once a fascinating biography and an artistic study of one of Scotland’s first professional women artists.

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