Search results for ""National Galleries of Scotland""

In the last twenty-five years contemporary art in Scotland has grown from a tiny and tightly knit scene to a globally recognised centre of artistic innovation and experiment. Generation Reader provides the first collection of key documents from the period including essays, interviews, critical writing and artists' own texts. This publication will fill a significant gap in the scholarship of the period and provide a resource for the future, an illustrated guide to the ideas, events and debates that shaped a generation. The selected archive texts from the period will sit alongside some newly-commissioned writing which includes essays by the novelist Louise Welch and by Nicola White, Dr Sarah Lowndes, Francis McKee, Professor Andrew Patrizio and Julianna Engberg. GENERATION is a landmark series of exhibitions tracing the remarkable development of contemporary art in Scotland over the last twenty-five years. It is an ambitious and extensive programme of works of art by more than 100 artists at over 60 galleries, exhibition spaces and venues the length and breadth of Scotland between March and November 2014.

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When Paul Gauguin (1848-1903) painted Vision After the Sermon in the summer of 1888 he was a mature artist who had travelled, exhibited and worked in a variety of media. Today the painting is considered a masterpiece, helping to assure Gauguin's fame the world over. Few paintings have given rise to more art historical analysis and critique, more speculation, admiration or recrimination. Accompanying the innovative painting-in-focus exhibition, 'Gauguin's Vision', this book illuminates one of the most intriguing and famous images in the history of western art. This re-examination of the painting, Vision After the Sermon: Jacob Wrestling with the Angel brings together works by Gauguin, his mentors such as Paul C,zanne and Edgar Degas, and younger contemporaries including Emile Bernard, Paul S,rusier, Maurice Denis and Henri van de Velde. It explores the biographical, pictorial and cultural circumstances that enabled Gauguin to make such a radical statement in paint in 1888. This beautifully illu

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F.C.B. Cadell was born in Edinburgh, where he lived for most of his life, and studied in Paris and Munich. This book illustrates many of the works for which Cadell is celebrated, including stylish portrayals of Edinburgh New Town interiors, vibrantly coloured, daringly simplified still lives of the 1920s, and evocative landscapes of the Scottish west coast and the south of France. Based on new research, a special section concentrates on Cadell's relationship with Iona, where he painted nearly every year from 1912 until 1935. The book accompanies a major exhibition at the Scottish National Gallery of Modern Art, the first retrospective exhibition of Cadell's work held at a public gallery since 1942.

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This book reveals the wealth of British and European miniatures preserved in Scottish private collections, most of which are not normally on show to the public. Some of these intimate and private works are new discoveries, published here for the first time. These works are drawn from some of the notable private collections in Scotland, led by the most famous of all, that of the Duke of Buccleuch & Queensberry. The protagonists of the Stuart cause are well represented in portraits of Prince James and his sons Prince Charles Edward and Prince Henry Benedict, taken from the collection of one of the most significant Jacobite families, that of the Dukes of Perth. The book illustrates some of the most personal portraits of the leading figures among the great families of Scotland from the early seventeenth to the mid-nineteenth century. Twenty of the key works are illustrated in colour, with extended captions, and a complete catalogue of the collection is also included. AUTHOR: Dr Stephen Lloyd is a senior curator at the Scottish National Portrait Gallery, where he has worked since 1993. SELLING POINTS: The sixth book in the National Galleries of Scotland's Portrait Miniatures series devoted to the art of the portrait miniature; subject of an exhibition to be held at the Scottish National Portrait Gallery in July 2006

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Thought-provoking, amusing, intriguing, disturbing: all these words will come to mind when browsing through this lavishly illustrated publication. The result of an ongoing collaboration between the National Galleries of Scotland, the English-Speaking Union Scotland and the Scottish Poetry Library, it brings together work from young, aspiring and established writers, all of whom have been inspired by works from the National Galleries of Scotland's collection. A celebration of contemporary writing, this third anthology is a rich distillation from almost 2,000 entries to the 'Inspired? Get Writing!' competition, and proves to be a real feast for not only the mind and the eye but also the heart.

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First retrospective of this artist's work in many years. John Bellany accompanies an exhibition at the Scottish National Gallery in Edinburgh from 17 November 2012 - 27 January 2013. John Bellany, born 1942, helped change the course of painting in Scotland. His intensely felt paintings of fisherfolk and their precarious life at sea were a direct challenge to the much diluted Scottish colorist tradition and its landscapes and still lifes. The sheer size and raw emotion of Bellany's canvases, their depictions of a way of life that the artist knew from growing up in a Port Seton fishing family - and their elevation of that life onto a symbolic level - were at odds with the decorative, drawing-room pictures of much contemporary Scottish painting in the 1960s. This book will mark John Bellany's seventieth birthday and will accompany the largest and most comprehensive exhibition of John Bellany's work since the National Galleries of Scotland organized the retrospective in 1986. The fully illustrated catalogue will illustrate paintings, watercolors, drawings and prints from all the key periods of the artist's career.

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This book offers a beautiful exploration of Henri de Toulouse-Lautrec's works in lithography. It explores the new artistic approach to the poster at the end of the 19th century, which bridged visual and popular culture and turned the relationship between `high' and `low' art on its head. Technical innovations in lithography pioneered by Lautrec and other artists produced larger sizes, more varied colours and new effects and launched the role of the poster as a powerful tool for communication and marketing in fin de siecle Paris. Lautrec's embrace of celebrity helped to define the famous hotspots (theatres, cabarets and cafe-concerts) of fin de siecle Paris and made their stars recognisable figures across the whole city. Works by contemporaries such as Pierre Bonnard, Theophile Alexandre Steinlen and Jules Cheret also feature, and Lautrec's influence on British, and particularly Scottish, artists of the period will be explored. These include Walter Richard Sickert, Arthur Melville, John Duncan Fergusson and William Nicholson.

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British realist art of the 1920s and 1930s is visually stunning - strong, seductive and demonstrating extraordinary technical skill. Despite this, it is often overshadowed by abstract art. This book presents the very first overview of British realist painting of the period, showcasing outstanding works from private and public collections across the UK. Of the forty artists featured in the show, many were major figures in the 1920s and 1930s but later passed out of fashion as abstraction and Pop Art became the dominant trends in the post-war years. In the last decade their work has re-emerged and interest in them has grown. Interwar realist art embraces a number of different styles, but is characterised by fine drawing, meticulous craftsmanship, a tendency towards classicism and an aversion to impressionism and visible brushwork. Artists such as Gerald Leslie Brockhurst, Meredith Frampton, James Cowie and Winifred Knights combine fastidious Old Master detail with 1920s modernity. Stanley Spencer spans various camps while Lucian Freud's early work can be seen as a realist coda which continued into the 1940s and beyond.Featuring many Scottish and women artists, this book promises a fascinating insight into this captivating period of British art. Exhibition to be held at the Scottish National Gallery of Modern Art, Edinburgh from 1 July to 29 October 2017.

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In the last twenty-five years contemporary art in Scotland has grown from a tiny and tightly knit community to a globally recognised centre of artistic innovation and experiment. This book provides the first comprehensive and fully illustrated guide to the art of the period. Featuring the work of more than eighty contemporary artists who first made their careers in Scotland including Turner Prize winners Douglas Gordon, Simon Starling and Martin Boyce. An accessible introduction for new audiences and a handy reference guide to the art of this period.

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This book brings together works from one of the most important private collections of modern and contemporary art, the D. Daskalopoulos Collection with key pieces from the Scottish National Gallery of Modern Art. Providing a new context for both collections, it specifically focuses on the theme of the body, investigating the many and varied approaches that artists have taken across several decades when dealing with this most fundamental of subjects. Highlighting the work of artists such as Marcel Duchamp, Pablo Picasso, Louise Bourgeois, Joseph Beuys, Robert Gober, Matthew Barney, Marina Abramovic and Sarah Lucas, the publication documents the confrontations and dialogues staged between the two collections, and provides a rich insight into one of the most compelling and provocative themes in twentieth- and twenty-first century visual art.

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Jane Brettle captures the diversity of Scotland's Police forces in this group of work by highlighting the differences in geography, population density and community across the country and the challenges that these bring. This group of photographs clearly shows the extent of the Scottish Police's work including community liaison, armed response, forensics, detective and mounted personnel. Brettle captures the individuality of the officers and support staff in their working environment. In addition, in two essays, the work of Jane Brettle is discussed as well as the development of contemporary policing in Scotland. Included in the book are personal captions written by the officers and support staff who were involved in this innovative project.

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The Scottish National Gallery’s outstanding collection of French paintings is described fully in this two-volume illustrated catalogue. Underpinned by extensive scholarly research, this comprehensive work includes many of the great names, including Monet, Degas, Cézanne, Poussin, Watteau and Delacroix. Since opening its doors in 1859, the Scottish National Gallery’s collection of French paintings has grown continuously, reflecting changing tastes and priorities, thanks to inspired and enlightened purchases and many generous donations. The collection’s fascinating history is related in the introductory essay. Each artist is introduced by a concise biography, followed by a study of their individual works featuring the most up-to-date research. Illustrating and describing 189 works of art, this catalogue is the definitive authority on the French paintings in Scotland’s national collection.

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Tells the very personal story of the man who changed the face of modern cinema Special-effects superstar Ray Harryhausen elevated stop-motion animation to an art during the 1950s to 1980s. With material drawn from his incredible archive, his daughter, Vanessa, selects 100 creatures and objects, in chronological order, that meant the most to her as she watched her father make world-famous films that changed the course of cinema. Ray Harryhausen's work included the Sinbad films of the 50s and 70s, One Million Years B.C. and Mighty Joe Young, as well as a wider portfolio including children’s fairy tales and commercials. He inspired a generation of film-makers such as Peter Jackson, Aardman Animation, Tim Burton, George Lucas and Steven Spielberg, and his influence on blockbuster cinema can be felt to this day. Some of the objects featured in the book, such as Talos from Jason and the Argonauts, are world famous, while others are less well known but hold special personal significance to Vanessa. Many newly restored works that have never previously been seen are included. This book is published in collaboration with the Ray and Diana Harryhausen Foundation and it will receive a great deal of international publicity. It celebrates the legacy of a filmmaker who changed the face of modern cinema and it is certain to delight and fascinate those who appreciate film, art, science fiction and fantasy. Shortlisted for Saltire Society Scotland's National Book Awards, First Book Award 2021. Scotland’s National Book Awards recognise work across Scotland’s literary and publishing community. [The Saltire Society] is delighted to highlight Scotland’s outstanding talent, raise the profile of writers and introduce audiences to exceptional new works.

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Produced in partnership with National Galleries of Scotland, this mini calendar celebrates some of Scotland's foremost female artists. Informative text accompanies each work and the datepad features previous and next monthâs views. Printed on FSC-certified paper, with plastic-free packaging.

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This calendar showcases a beautiful selection of artwork by the Scottish Colourists, sourced from the collection at the National Galleries of Scotland, one of the finest in the world. Informative text accompanies each work and the datepad features previous and next monthâs views. Printed on FSC-certified paper, with plastic-free packaging.

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Produced in partnership with National Galleries of Scotland, this diary showcases a stunning selection of artworks from their extensive collection, one of the finest in the world. Including artwork from Samuel John Peploe, Francis Campbell Boileau Cadell, GL Hunter and John Duncan Fergusson known as the Scottish Colourists this practical and stylish week-to-view desk diary is a wonderful gift or a treat for yourself. Printed on FSC-certified paper.

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Bridget Riley’s paintings are developed carefully over time, the result of methodically working through pictorial variables such as colour, tone, scale, and rhythm. Studies are central to this process, allowing Riley to concentrate on the analysis and synthesis that lie at the heart of her working practice. Riley says, ‘Because my work is based on enquiry, studies are my chief method of exploration and my way into paintings’ (2005). This volume richly illustrates the thinking that goes into Riley’s work through a selection of over 150 drawings, colour analyses, notations, scale studies and cartoons, most of which were exhibited at the artist’s recent seminal retrospective exhibitions in Edinburgh and London from 2019 to 2020 organized by the National Galleries of Scotland. The selection spans most of Riley’s working life, tracing the origins and evolving nature of her remarkable body of work. Riley’s beginnings are also documented through selected childhood drawings, work made during and immediately following her studies at Goldsmiths’ College and the Royal College of Art, and her early explorations into abstraction. The artist’s working method is brought into high relief in a newly commissioned conversation with Riley and Sir John Leighton, Director of the National Galleries of Scotland. The text explores the cardinal moments in the artist’s practice and the impulses that bring her work into existence. The volume also includes four previously published texts dedicated to Riley’s studies and practice written by the artist herself, art historians, curators and museum directors, which shed further light on the enduring role of drawing and the process of exploration central to her work.With over 200 illustrations

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Published to mark the first centenary of Italy’s entry into the Great War, Like Leaves in Autumn features 21 original Italian poems by Giuseppe Ungaretti, with new English translations by Heather Scott. These are set alongside 21 new poems by contemporary Scottish poets writing in response to Ungaretti, and are illustrated with striking black-and-white artworks from the ARTIST ROOMS collection, owned by National Galleries of Scotland and Tate. One of Europe’s greatest modernist poets, Ungaretti was born and raised in Alexandria, Egypt, to an Italian family from Tuscany. From 1915, he served in the Italian infantry in the campaign against Austria-Hungary. It was a ferocious conflict fought in the mountains of Northern Italy in trenches dug out of Alpine rock. Thousands died and Ungaretti’s poems, written during pauses in the fighting, channel these horrific experiences. In addition to his grief and loss, these verses are shaped both by Ungaretti’s sense of exile and by his intense life-affirming poetic sensibility. A century on, this anthology offers a creative interplay of recollection, translation and new inspiration. Italian, English, Scots and Gaelic voices mingle on these pages, and the artworks spark a dialogue between words and images, creating an alchemy of further meanings.

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“I am sometimes asked ‘What is your objective’ and this I cannot truthfully answer. I work ‘from’ something rather than ‘towards’ something. It is a process of discovery.” Since 1961, Riley has focused exclusively on seemingly simple geometric forms, such as lines, circles, curves, and squares, arrayed across a surface—whether a canvas, wall, or paper—according to an internal logic. The resulting compositions actively engage the viewer, at times triggering sensations of vibration and movement. In the present selection, Riley advances her Measure by Measure series, her most extensive body of work to date, into a new, darker color palette. Once again, changing the way we look and offering a powerful effect on our eyes. This sense of dynamism was explored to great effect in the artist’s earliest black-and-white paintings, which established the basis of her enduring formal vocabulary. In 2020, after visiting her own earlier works at her retrospective exhibition organized by the National Galleries of Scotland, Riley returned to black-and-white lozenges, adjusting the orientation of each shape to create a new visual sensation. In 1967, Riley introduced colour into her work, thus expanding the perceptual and optical possibilities of her compositions. Published on the occasion of the 2021 exhibition at David Zwirner, London, this monograph features new scholarship on the artist by art historian Éric de Chassey, who looks at how Riley’s past, as well as previous artists, has led to this body of work.

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Diego Velázquez (1599-1660), considered by many to be the greatest of Spain's great painters, spent his crucial formative years in Seville, learning his craft and producing many early masterpieces. When he departed from his native city as a young man of 24, Velázquez's accomplishments were already impressive: he left to assume the position of Court Painter to Philip IV of Spain in Madrid. In this beautifully illustrated book, an international team of art scholars explores the importance of Seville for Velázquez. Discussions range across many topics, including Velázquez's education and training, Sevillian culture and Catholic theology, picaresque literature, and Velázquez's subject matter—portraiture, sacred subjects, and the bodegones (kitchen and tavern scenes with prominent still life) in which Velázquez developed his distinctive naturalistic style.The Seville of Velázquez's youth was the chief Spanish port of trade with the New World and a major religious center that witnessed the passionate controversy over the mystery of the Immaculate Conception, a subject depicted in an early Velázquez painting. Other surviving paintings from the artist's Sevillian years include his first dated painting, Old Woman Cooking Eggs (1618), and his famous masterpiece Water-seller of Seville.This book serves as the catalogue for a major exhibition on Velázquez's early work to be held at the National Gallery of Scotland in Edinburgh, August 8 through October 20, 1996. The exhibit also includes a selection of influential works by Velázquez's important contemporaries, such as the sculptor Montañes and painters Alonso Cano and Ribalta.Distributed by Yale University Press for National Galleries of Scotland

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Between a Temple of Art and a Big EventAs places to enjoy art, as well as institutions that have become historic, museums can also be examined through the question of who exactly heads up these temples of art. What kinds of personalities have guided the fates of these large, traditional institutions? How have they done so, and what has motivated them? What galvanizes international curators or museum employees, and how have they risen to the challenge of opening their organizations to increasingly large numbers of visitors? Donatien Grau has conducted impressive conversations with influential museum operators. We have him to thank for these personal, art historical, cultural-political, and timely insights into museum operations, the histories of various institutions, and their leaders’ very personal attitudes toward art. This volume reads like a detective story about the mediation efforts of museums and the personal motives behind them. Interviews with MICHEL LACLOTTE, Director of the Louvre, Paris, 1987–1995; SIR ALAN BOWNESS, Director of the Tate, London, 1980–1988; SIR TIMOTHY CLIFFORD, Director of the National Galleries of Scotland, Edinburgh, 1984–2006; PHILIPPE DE MONTEBELLO, Director of the Metropolitan Museum of Art, New York, 1977–2009; IRINA ANTONOVA, Director of the Pushkin Museum, Moscow, 1961–2013; PETER-KLAUS SCHUSTER, General Director of the Staatliche Museen zu Berlin, 1998–2008; SIR MARK JONES, Director of the Victoria & Albert Museum, London 2001–2011; TOM KRENS, Director of the Guggenheim Museum, New York, Venice, and Bilbao, 1988–2008; WILFRIED SEIPEL, General Director of the Kunsthistorisches Museum, Vienna, 1998–2008; HENRI LOYRETTE, Director of the Musée d’Orsay, Paris (1994–2001), and the Louvre, Paris (2001–2013). DONATIEN GRAU is a newspaper art critic, a museum curator, and a university teacher. His lively and clever voice has a firm place in the field of art.

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PUBLISHED TO ACCOMPANY THE ONCE-IN-A-LIFETIME EXHIBITION AT THE RIJKSMUSEUM, AMSTERDAM, THIS IS THE FIRST MAJOR STUDY ON VERMEER'S LIFE AND WORK FOR MANY YEARS. ---------- 'Proust was once so excited to see a Vermeer show that he collapsed … I got chest pains merely leafing through the catalogue' Jonathan Jones, Guardian 'Invest in the fat catalogue, stuffed with scholarly discoveries and photographic closeups, and you will learn about everything from Vermeer’s optical mastery to his moral symbolism' Rachel Campbell-Johnston, The Times 'Excellent' Artists & Illustrators 'Getting a ticket for the once-in-a-lifetime Vermeer exhibition, above, at the Rijksmuseum in Amsterdam this year might frankly be a bit of a challenge, but you can at least console yourself with the exhibition catalogue, published by Thames & Hudson, which is a gorgeous thing. Nothing matches seeing a painting in the flesh, but this comes mightily close.' The Herald ---------- Vermeer's intensely quiet and enigmatic paintings invite the viewer into a private world, often prompting more questions than answers. Who is being portrayed? Are his subjects real or imagined? And how did he create such an unrivalled sense of intimacy? Bringing together diverse strands of the Dutch master's professional and private worlds, this is the first major authoritative study of Vermeer's life and work for many years, throwing light on all thirty-seven of his paintings. The book was designed by Irma Boom, the ‘Queen of Books’, and printed on an uncoated ‘Munken Print White’ paper, specially commissioned to ensure the veracity of colours. Irma Boom says: ‘the matte paper brings you closer to Vermeer; there is no gloss or glare in between, just like with the real works.’ With a wide selection of contextual illustrations, commentaries and up-to-date research by distinguished international Vermeer scholars, this is the definitive volume on the most admired of all seventeenth-century Dutch masters. With contributions by Bart Cornelis, National Gallery, London Bente Frissen, Rijksmuseum, Amsterdam Sabine Pénot, Kunsthistorisches Museum, Vienna Pieter Roelofs, Rijksmuseum, Amsterdam Friederike Schuett, Staedel Museum, Frankfurt am Main Christian Tico Seifert, National Galleries of Scotland, Edinburgh Ariane van Suchtelen, Mauritshuis, The Hague Gregor J.M. Weber, Rijksmuseum, Amsterdam Marjorie E. Wieseman, National Gallery of Art, Washington

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