Scottish art

This is a good article. Click here for more information.
Source: Wikipedia, the free encyclopedia.

Part of the combination of sculpture and landscape used at Ian Hamilton Finlay's Little Sparta
Part of a series on the
Culture of Scotland
History
People
Languages
Traditions
Folklore
Cuisine
Festivals
Religion
Art
Literature
Music and Performing arts
Media
Sport
Monuments
Symbols

Scottish art is the body of

British art
.

The earliest examples of art from what is now Scotland are highly decorated carved stone balls from the

Union of Crowns in 1603 removed another major source of patronage, the seventeenth century saw the emergence of the first significant native artists for whom names are extant, with figures such as George Jamesone and John Michael Wright.[citation needed
]

In the eighteenth century Scotland began to produce artists that were significant internationally, all influenced by

Glasgow Boys and the Four, led Charles Rennie Mackintosh, who gained an international reputation for their combination of Celtic revival, Art and Crafts and Art Nouveau. The early twentieth century was dominated by the Scottish Colourists and the Edinburgh School. Modernism enjoyed popularity during this period, with William Johnstone helping to develop the concept of a Scottish Renaissance. In the post-war period, major artists, including John Bellany and Alexander Moffat, pursued a strand of "Scottish realism". Moffat's influence can be seen in the work of the "new Glasgow Boys" from the late twentieth century. In the twenty-first century Scotland has continued to produce successful and influential artists such as Douglas Gordon and Susan Philipsz.[citation needed
]

Scotland possess significant collections of art, such as the

National Gallery of Scotland and National Museum of Scotland in Edinburgh and the Burrell Collection and Kelvingrove Art Gallery and Museum in Glasgow. Significant schools of art include the Edinburgh College of Art and the Glasgow School of Art. The major funding body with responsibility for the arts in Scotland is Creative Scotland. Support is also given by local councils and independent foundations.[citation needed
]

History

Prehistoric art

Main article: Prehistoric art in Scotland
See also: Prehistoric Scotland
The Torrs Pony-cap and Horns, as displayed in 2011

The oldest known examples of art to survive from Scotland are carved stone balls, or

Skye, Harris, Uist, Lewis, Arran, Hawick, Wigtownshire and fifteen from Orkney, five of which were found at the Neolithic village of Skara Brae.[2] Many functions have been suggested for these objects, most indicating that they were prestigious and powerful possessions.[1] Their production may have continued into the Iron Age.[3]

From the Bronze Age there are extensive examples of rock art. These include cup and ring marks, a central depression carved into stone, surrounded by rings, sometimes not completed. These are common elsewhere in Atlantic Europe and have been found on natural rocks and isolated stones across Scotland. The most elaborate sets of markings are in western Scotland, particularly in the Kilmartin district. The representations of an axe and a boat at the Ri Cruin Cairn in Kilmartin, and a boat pecked into Wemyss Cave, are believed to be the oldest known representations of real objects that survive in Scotland. Carved spirals have also been found on the cover stones of burial cists in Lanarkshire and Kincardine.[4]

By the Iron Age, Scotland had been penetrated by the wider La Tène culture.[5] The Torrs Pony-cap and Horns are perhaps the most impressive of the relatively few finds of La Tène decoration from Scotland, and indicate links with Ireland and southern Britain.[6] The Stirling torcs, found in 2009, are a group of four gold torcs in different styles, dating from 300 BC and 100 BC Two demonstrate common styles found in Scotland and Ireland, but the other two indicate workmanship from what is now southern France and the Greek and Roman worlds.[7]

Middle Ages

Main article: Art in Medieval Scotland
See also: Scotland in the Middle Ages

In the

The Old North", the most powerful and longest surviving of which was the Kingdom of Strathclyde. Finally, there were the English or "Angles", Germanic invaders who had overrun much of southern Britain and held the Kingdom of Bernicia (later the northern part of Northumbria), which reached into what are now the Borders of Scotland in the south-east.[8]

A replica of the Hilton of Cadboll Stone

Only fragments of artefacts survive from the Brythonic speaking kingdoms of southern Scotland.

Hunterston brooch, which with other items such as the Monymusk Reliquary, suggest that Dál Riata was one of the places, as a crossroads between cultures, where the Insular style developed.[12] Early examples of Anglo-Saxon art include metalwork, particularly bracelets, clasps and jewellery, that has survived in pagan burials and in exceptional items such as the intricately carved whalebone Franks Casket, thought to have been produced in Northumbria in the early eighth century, which combines pagan, classical and Christian motifs.[13] After the Christian conversion of what is now Scotland in the seventh century, artistic styles in Northumbria interacted with those in Ireland and Scotland to become part of the common style historians have identified as insular or Hiberno-Saxon.[14]

Viking period.[20]

In the

Reformation.[22] However, examples of sculpture are extant as part of church architecture, including evidence of elaborate church interiors such as the sacrament houses at Deskford and Kinkell[23] and the carvings of the seven deadly sins at Rosslyn Chapel.[24] From the thirteenth century, there are relatively large numbers of monumental effigies such as the elaborate Douglas tombs in the town of Douglas.[25] Native craftsmanship can be seen in items such as the Bute mazer and the Savernake Horn, and more widely in the large number of high quality seals that survive from the mid thirteenth century onwards.[22] Visual illustration can be seen in the illumination of charters,[26] and occasional survivals such as the fifteenth-century Doom painting at Guthrie.[27] As in England, the monarchy may have had model portraits of royalty used for copies and reproductions, but the versions of native royal portraits that survive are generally crude by continental standards.[28]

European Renaissance

Main article: Art in early modern Scotland
See also: Renaissance in Scotland and Scottish Renaissance painted ceilings
Stirling Heads showing James V

Beginning in the fifteenth century, a number of works were produced in Scotland by artists imported from the continent, particularly the

tapestries, such as those that depicted scenes from the Iliad and Odyssey set up for James IV at Holyrood.[30] Surviving stone and wood carvings, wall paintings and tapestries suggest the richness of sixteenth century royal art. At Stirling Castle, stone carvings on the royal palace from the reign of James V are taken from German patterns,[31] and like the surviving carved oak portrait roundels from the King's Presence Chamber, known as the Stirling Heads, they include contemporary, biblical and classical figures.[32] James V employed French craftsmen including the carver Andrew Mansioun.[33]

Reformation

Main articles: Art in early modern Scotland and Portrait painting in Scotland
See also: Scottish Reformation

During the sixteenth century, Scotland underwent a

Protestant Reformation that created a predominantly Calvinist national Church of Scotland (kirk), which was strongly Presbyterian in outlook.[34] Scotland's ecclesiastical art paid a heavy toll as a result of Protestant iconoclasm, with the almost total loss of medieval stained glass, religious sculpture and paintings.[35] The nature of the Scottish Reformation may have had wider effects, limiting the creation of a culture of public display and meaning that art was channelled into more austere forms of expression with an emphasis on private and domestic restraint.[36]

Self portrait of George Jamesone (1642)

The loss of ecclesiastical patronage created a crisis for native craftsmen and artists, who turned to secular patrons. One result of this was the flourishing of

James VI employed two Flemish artists, Arnold Bronckorst in the early 1580s and Adrian Vanson from around 1584 to 1602, who have left us a visual record of the king and major figures at the court.[35] In 1590 Anne of Denmark brought a jeweller Jacob Kroger (d. 1594) from Lüneburg, a centre of the goldsmith's craft.[38]

The

Union of Crowns in 1603 removed a major source of artistic patronage in Scotland as James VI and his court moved to London. The result has been seen as a shift "from crown to castle", as the nobility and local lairds became the major sources of patronage.[39] The first significant native artist was George Jamesone of Aberdeen (1589/90-1644), who became one of the most successful portrait painters of the reign of Charles I and trained the Baroque artist John Michael Wright (1617–1694).[35] The growing importance of royal art can be seen in the post created in 1702 for George Ogilvie. The duties included "drawing pictures of our [the Monarch's] person or of our successors or others of our royal family for the decorment of our houses and palaces". However, from 1723 to 1823 the office was a sinecure held by members of the Abercrombie family, not necessarily connected with artistic ability.[40]

Eighteenth century

Main articles: Scottish art in the eighteenth century and Landscape painting in Scotland
Alexander Runciman, Agrippina with the Ashes of Germanicus (c. 1773)

Enlightenment period

See also: Scottish Enlightenment

Many painters of the early part of the eighteenth century remained largely artisans, such as the members of the Norie family, James (1684–1757) and his sons, who painted the houses of the peerage with Scottish landscapes that were pastiches of Italian and Dutch landscapes.[41] The painters Allan Ramsay (1713–1784), Gavin Hamilton (1723–1798), the brothers John (1744–1768/9) and Alexander Runciman (1736–1785), Jacob More (1740–1793) and David Allan (1744–1796), mostly began in the tradition of the Nories, but were artists of European significance, spending considerable portions of their careers outside Scotland, and were to varying degree influenced by forms of Neoclassicism. The influence of Italy was particularly significant, with over fifty Scottish artists and architects known to have travelled there in the period 1730–1780.[42]

Ramsay studied in Sweden, London and Italy before basing himself in Edinburgh, where he established himself as a leading portrait painter to the Scottish nobility. After a second visit to Italy he moved to London in 1757 and from 1761 he was

George III. He now focused on royal portraits, often presented by the king to ambassadors and colonial governors. His work has been seen as anticipating the grand manner of Joshua Reynolds, but many of his early portraits, particularly of women are less formal and more intimate studies.[43] Gavin Hamilton studied at the University of Glasgow and in Rome, and after a brief stay in London, primarily painting portraits of the British aristocracy, he returned to Rome for the rest of his life. He emerged as a pioneering neo-classical painter of historical and mythical themes, including his depictions of scenes from Homer's Iliad, as well as acting as an early archaeologist and antiquarian.[44]

The intimate portrait of his second wife Margaret Lindsay by Allan Ramsay (1758)

John and Alexander Runciman both gained reputations as painters of mythological and historical themes. They travelled to Italy, where John died in 1768/9. Alexander returned home to gain a reputation as a landscape and portrait painter. His most widely known work, distributed in etchings, was mythological.

Academy of Arts in 1786. Here he produced his most famous work, with illustrations of themes from Scottish life, earning him the title of "the Scottish Hogarth".[46]

Romanticism

See also: Romanticism in Scotland and Scottish genre art

Scotland played a major part in the origins of the

Herder and Goethe.[47] Ossian became a common subject for Scottish artists, and works were undertaken by Alexander Runciman and David Allan among others.[45][46] This period saw a shift in attitudes to the Highlands and mountain landscapes in general, from viewing them as hostile, empty regions occupied by backwards and marginal people, to interpreting them as aesthetically pleasing exemplars of nature, occupied by rugged primitives, which were now depicted in a dramatic fashion.[48] Produced before his departure to Italy, Jacob More's series of four paintings "Falls of Clyde" (1771–73) have been described by art historian Duncan Macmillan as treating the waterfalls as "a kind of natural national monument" and has been seen as an early work in developing a romantic sensibility to the Scottish landscape.[48] Alexander Runciman was probably the first artist to paint Scottish landscapes in watercolours in the more romantic style that was emerging towards the end of the eighteenth century.[49]

Highland Loch Landscape by Alexander Nasmyth

The effect of Romanticism can also be seen in the works of late eighteenth and early nineteenth-century artists including

painter and limner in 1823, marking a return to the post being associated with the production of art.[50] Nasmyth visited Italy and worked in London, but returned to his native Edinburgh for most of his career. He produced work in a large range of forms, including his portrait of Romantic poet Robert Burns, which depicts him against a dramatic Scottish background, but he is chiefly remembered for his landscapes and is described in the Oxford Dictionary of Art as "the founder of the Scottish landscape tradition".[52] The work of Knox continued the theme of landscape, directly linking it with the Romantic works of Scott[53] and he was also among the first artists to take a major interest in depicting the urban landscape of Glasgow.[54]

Nineteenth century

Main article: Scottish art in the nineteenth century

Painting

The Reverend Robert Walker Skating on Duddingston Loch, traditionally attributed to Henry Raeburn (1756–1823)

lithograph prints of Egypt and the Near East that he produced during the 1840s from sketches he made during long tours of the region.[57]

The tradition of highland landscape painting was continued by figures such as Horatio McCulloch (1806–1867), Joseph Farquharson (1846–1935) and William McTaggart (1835–1910).[58] McCulloch's images of places including Glen Coe and Loch Lomond and the Trossachs, became parlour room panoramas that helped to define popular images of Scotland. This was helped by Queen Victoria's declared affection for Scotland, signified by her adoption of Balmoral as a royal retreat. In this period a Scottish "grand tour" developed with large number of English artists, including Turner, flocking to the Highlands to paint and draw.[59] From the 1870s Farquharson was a major figure in interpreting Scottish landscapes, specialising in snowscapes and sheep, and using a mobile heated studio in order to capture the conditions from life.[58] In the same period McTaggart emerged as the leading Scottish landscape painter. He has been compared with John Constable and described as the "Scottish Impressionist", with free brushwork often depicting stormy seas and moving clouds.[60] The fashion for coastal painting in the later nineteenth century led to the establishment of artist colonies in places such as Pittenweem and Crail in Fife,[61] Cockburnspath in the Borders, Cambuskenneth near Stirling on the River Forth[62] and Kirkcudbright in Dumfries and Galloway.[63]

Sculpture

Main article: Sculpture in Scotland
Alexander and Bucephalus by John Steell (1832)

In the early decades of the century, sculpture commissions in Scotland were often given to English artists. Thomas Campbell (c. 1790 – 1858) and Lawrence Macdonald (1799–1878) undertook work in Scotland, but worked for much of their careers in London and Rome.[64] The first significant Scottish sculptor to pursue their career in Scotland was John Steell (1804–1891). His first work to gain significant public attention was his Alexander and Bucephasus (1832). His 1832 design for a statue of Walter Scott was incorporated into the author's memorial in Edinburgh. It marked the beginnings of a national school of sculpture based around major figures from Scottish culture and Scottish and British history. The tradition of Scottish sculpture was taken forward by artists such as Patrick Park (1811–1855), Alexander Handyside Ritchie (1804–1870) and William Calder Marshall (1813–1894). This reached fruition in the next generation of sculptors including William Brodie (1815–1881), Amelia Hill (1820–1904) and Steell's apprentice David Watson Stevenson (1842–1904). Stevenson contributed the statue of William Wallace to the exterior of the Wallace Monument and many of the busts in the gallery of heroes inside. Public sculpture was boosted by the anniversary of Burns' death in 1896. Stevenson produced a statue of the poet in Leith. Hill produced one for Dumfries. John Steell produced a statue for Central Park in New York, versions of which were made for Dundee, London and Dunedin. Statues of Burns and Scott were produced in areas of Scottish settlement, particularly in North America and Australia.[65]

Early photography

Main article: Scottish photography
'His Faither's Breeks', by Hill & Adamson

In the early nineteenth century Scottish scientists

Clementina Hawarden (1822–1865), whose posed portraits were among the first in a tradition of female photography.[69]

Influence of the Pre-Raphaelites

See also: Pre-Raphaelite Brotherhood

D. G. Rossetti. The London-based Pre-Raphaelites rejected the formalism of Mannerist painting after Raphael. Bell Scott was patronised by the Pre-Raphaelite collector James Leathart. His most famous work, Iron and Coal was one of the most popular Victorian images and one of the few to fulfill the Pre-Raphaelite ambition to depict the modern world.[70]

Pegwell Bay, Kent – a Recollection of 5 October 1858
(1858–60?)

The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born

Arthurian-based paintings including La Morte d'Arthur and Sir Lancelot and Queen Guinevere.[75]

Arts and Crafts and the Celtic Revival

See also: Arts and Crafts movement and Celtic Revival

The beginnings of the Arts and Crafts movement in Scotland were in the stained glass revival of the 1850s, pioneered by

Anglo-Japanese movement.[77]

Textile pattern by Christopher Dresser (1887)

The formation of the Edinburgh Social Union in 1885, which included a number of significant figures in the Arts and Craft and Aesthetic movements, became part of an attempt to facilitate a Celtic Revival, similar to that taking place in contemporaneous Ireland, drawing on ancient myths and history to produce art in a modern idiom.[78] Key figures were the philosopher, sociologist, town planner and writer Patrick Geddes (1854–1932), the architect and designer Robert Lorimer (1864–1929) and stained-glass artist Douglas Strachan (1875–1950). Geddes established an informal college of tenement flats for artists at Ramsay Garden on Castle Hill in Edinburgh in the 1890s.[79]

Among the figures involved with the movement were

Italian Renaissance art and French Symbolism. Among his most influential works are his paintings of Celtic subjects Tristan and Iseult (1912) and St Bride (1913). Other Dundee Symbolists included Stewart Carmichael (1879–1901) and George Dutch Davidson (1869–1950).[79] Duncan was a major contributor to Geddes' magazine The Evergreen. Other major contributors included the Japanese-influenced Robert Burns (1860–1941), E. A. Hornel (1864–1933) and Duncan's student Helen Hay (fl. 1895–1953).[80]

Glasgow School

Main article: Glasgow School
Frances Macdonald
(1909)

For the late nineteenth century developments in Scottish art are associated with the Glasgow School, a term that is used for a number of loose groups based around the city. The first and largest group, active from about 1880, were the

Arts and Crafts Movement, and Japonisme, which found favour throughout the modern art world of continental Europe and helped define the Art Nouveau style.[83]

Early twentieth century

Main article: Art in modern Scotland
Francis Cadell, The Vase of Water (1922)

Scottish Colourists

Main article: Scottish Colourists

The next significant group of artists to emerge were the Scottish Colourists in the 1920s. The name was later given to four artists who knew each other and exhibited together, but did not form a cohesive group. All had spent time in France between 1900 and 1914

Leslie Hunter (1877–1931).[86] They have been described as the first Scottish modern artists and were the major mechanism by which post-impressionism reached Scotland.[84]

Edinburgh School

Main article: The Edinburgh School

The group of artists connected with Edinburgh, most of whom had studied at Edinburgh College of Art during or soon after the First World War, became known as the Edinburgh School.

John Maxwell (1905–62) who created both landscapes and studies of imaginative subjects, Adam Bruce Thomson (1885–1976) best known for his oil and water colour landscape paintings, particularly of the Highlands and Edinburgh,[89] William Crozier (1893–1930), whose landscapes were created with glowing colours, William Geissler (1894–1963),[90][91][92][93] watercolourist of landscapes in Perthshire, East Lothian and Hampshire, William MacTaggart (1903–81), noted for his landscapes of East Lothian, France and Norway[87] and Anne Redpath (1895–1965), best known for her two dimensional depictions of everyday objects.[94]

Modernism and the Scottish Renaissance

See also: Modernism and Scottish Renaissance
Stanley Cursiter The Regatta (1913)

Patrick Geddes coined the phrase Scottish Renaissance, arguing that technological development needed to paralleled in the arts. This ideas were taken up by a new generation, led by the poet

Futurism, as can be seen in his Rain on Princes Street (1913) and Regatta (1913).[96][97] McCance's early work was in a bold post-impressionist style, but after World War I it became increasingly abstract and influenced by vorticism, as can be seen in Women on an Elevator (1925) and The Engineer and his Wife (1925).[98] Johnstone studied cubism, surrealism and new American art. He moved towards abstraction, attempting to utilise aspects of landscape, poetry and Celtic art. His most significant work, A Point in Time (1929–38), has been described by art historian Duncan Macmillan as "one of the most important Scottish pictures of the century".[96][99][100]

Other artists strongly influenced by modernism included James McIntosh Patrick (1907–98) and Edward Baird (1904–49).[96] Both trained in Glasgow, but spent most of their careers in and around their respective native cities of Dundee and Montrose. Both were influenced by surrealism and the work of Bruegel and focused on landscape, as can be seen in McIntosh Patrick's Traquair House (1938) and more overtly in Baird's The Birth of Venus (1934). Before his success in painting McIntosh Patrick first gained a reputation as an etcher. Leading figures in the field in the inter-war period included William Wilson (1905–72) and Ian Fleming (1906–94).[101]

New Scottish Group

Main article: New Scottish Group
J. D. Fergusson
, People and Sails (1910)

The longest surviving member of the Scottish Colourists, J. D. Fergusson, returned to Scotland from France in 1939, just before the outbreak of the Second World War, where he became a leading figure of a group of Glasgow artists. Members of Fergusson's group formed the New Art Club in 1940, in opposition to the established Glasgow Art Club. In 1942 they held the first exhibition of their own exhibiting society, the New Scottish Group, with Fergusson as its first president.[102]

The group had no single style, but shared left-wing tendencies and included artists strongly influenced by trends in contemporary continental art. Painters involved included Donald Bain (1904–79), who was influenced by

Van Gogh. Frood's urban scenes contain an element of social commentary and realism, influenced by Polish refugees Josef Herman (1911–2000), resident in Glasgow between 1940 and 1943[103] and Jankel Adler (1895–1949) who was in Kirkudbright from 1941 to 1943.[104] Also influenced by Herman were husband and wife Tom MacDonald (1914–85) and Bet Low (born 1924), who with painter William Senior (born 1927) formed the Clyde Group, aimed at promoting political art. Their work included industrial and urban landscapes such as MacDonald's Transport Depot (1944–45) and Bet Low's Blochairn Steelworks (c. 1946).[103]

Contemporary art

Main article: Art in modern Scotland

Post-War artists

See also: Contemporary art
Eduardo Paolozzi's 1995 sculpture Newton, based on William Blake's 1795 print Newton

Notable post-war artists included

neo-Romanticism.[105] Robert MacBryde (1913–66), Robert Colquhoun (1914–64) and Joan Eardley (1921–63), were all graduates of the Glasgow School of Art. MacBryde and Colquhoun were influenced by neo-Romanticism and the Cubism of Adler. The English-born Eardley moved to Glasgow and explored the landscapes of Kincardineshire coast and created depictions of Glasgow tenements and children in the streets.[106] Scottish artists that continued the tradition of landscape painting and joined the new generation of modernist artists of the highly influential St Ives School were Wilhelmina Barns-Graham (b. 1912–2004), Margaret Mellis (b. 1914–2009).[107]

Paris continued to be a major destination for Scottish artists, with

Zen Buddhism and moved further into abstract expressionism.[96] Ian Hamilton Finlay's (1925–2006) work explored the boundaries between sculpture, print making, literature (especially concrete poetry) and landscape architecture. His most ambitious work, the garden of Little Sparta opened in 1960.[110]

Scottish Realism and the Glasgow Pups

David Mach's Big Heids, Lanarkshire, a tribute to the steel industry

post-modern painting adopts a whimsical approach to history. Campbell often employs figures reminiscent characters from 1930s novels confronted by the disorder and confusion of the real world, as in his Young Men in Search of Simplicity (1989).[113] Currie has revived historical painting devoted to the socialist history of Glasgow in a series of paintings for the People's Palace in 1987. Currie also approached the problems of historical painting through his series of prints The Saracen Heads (1988).[114]

Contemporary sculpture

While sculptors Eric Schilsky (1898–1974) and Hew Lorimer (1907–93) worked in the existing tradition of modelling and carving,[113] sculptor and artist Eduardo Paolozzi (1924–2005) was a pioneer of pop art and in a varied career produced many works that examined juxtapositions between fantasy and the modern world.[94] George Wyllie (1921–2012), produced works of social and political commentary including the Straw Locomotive (1987), an event which raised questions about the decline of heavy industry and the nature of colonialism.[115] New sources of direct government arts funding encouraged greater experimentation among a new generation of sculptors that incorporated aspects of modernism, including Jake Harvey (born 1948), Doug Cocker (born 1945), Ainslie Yule (1941–2022) and Gavin Scobie (1940–2012).

Sandy Stoddart (born 1959) works primarily on "nationalist" figurative sculpture in clay within the neoclassical tradition. He is best known for his civic monuments, including 10 feet (3.0 m) bronze statues of the philosophers David Hume and Adam Smith, on the Royal Mile in Edinburgh.[116]

Photographic renaissance

Main article: Scottish photography
The first room of the installation The Object Moved by its Own Success, by Sandy Smith and Alex Gross (2008)

In the late twentieth century, photography in Scotland enjoyed a renaissance, encouraged by figures including Richard Hough (1945–85) who founded the Stills Gallery for photography in Edinburgh in 1977 and Murray Johnston (1949–90), who was its director (1982–86).[117] Important practitioners in Scotland included the American Thomas Joshua Cooper (born 1946) who founded the Fine Art Photography department in 1982 at The Glasgow School of Art. More recent exponents who have received acclaim include Pradip Malde (born 1957), Maud Sulter (1960–2008) and Owen Logan (born 1963).[66]

Contemporary artists

Since the 1990s, the most commercially successful artist has been

sound installations.[121] A group that emerged from Glasgow in the early 1990s, and later described as "The Irascibles", includes Roderick Buchanan (born 1965), who works in installations, film and photography, Douglas Gordon (born 1966) working in video art, Christine Borland (1965), whose work focuses on forensic science, and sculptor Martin Boyce (born 1967).[122] In the generation of more recent artists Lucy McKenzie's (born 1977) painting is often sexually explicit,[123] while Sandy Smith (born 1983) has produced installation art that combines video and landscape art.[124]

Art museums and galleries

The William Hole entrance hall frieze, 1898, in the Scottish National Portrait Gallery
See also: List of art museums and galleries in Scotland

Major art galleries in Edinburgh include the

Sir William Burrell. The Kelvingrove Art Gallery and Museum houses a collection of international art and products of the Glasgow School. The Hunterian Museum and Art Gallery houses sixty works by James McNeill Whistler and works by Mackintosh, as well as an international collection of masters from the seventeenth century onwards.[127] Other major collections include the Aberdeen Art Gallery, which houses a major collection of British and international art[128] and Dundee Contemporary Arts, which houses two contemporary art galleries.[129]

Art schools and colleges

See also: List of art schools in Europe § Scotland
Glasgow School of Art, designed by Charles Rennie Mackintosh

Scotland has had schools of art since the eighteenth century, many of which continue to exist in different forms today.

Lutheran church in 1988.[132]

Organisations

autonomous body since a royal charter of 1967.[133][134] In addition, some local authorities and private interests have also supported to the arts, although this has been more limited since local government reorganisation in 1996.[135] Independent arts foundations that promote the visual arts include the Royal Scottish Academy, founded in 1826 and granted a royal charter in 1837.[136]

See also

Wikimedia Commons has media related to Art of Scotland.

References

Notes

  1. ^ a b "Carved stone ball found at Towie, Aberdeenshire", National Museums of Scotland. Retrieved 14 May 2012.
  2. ^ D. N. Marshall, "Carved Stone Balls", Proceedings of the Society of Antiquaries of Scotland, 108, (1976/77), pp. 62–3.
  3. ISBN 0-7486-0291-7
    , p. 46.
  4. ^ V. G. Childe, The Prehistory of Scotland (London: Taylor and Francis, 1935), p. 115.
  5. ISBN 978-0-8196-1160-4
    , p. 25.
  6. ISBN 0-7486-0291-7
    , p. 119.
  7. ^ "Iron Age Gold", National Museums of Scotland. Retrieved 14 May 2012.
  8. ISBN 1-85285-195-3
    , p. 48.
  9. ISBN 0852638744
    , pp. 37–41.
  10. ISBN 0-7486-0641-6
    , pp. 7–8.
  11. ISBN 0-7141-0554-6
    , pp. 26–8.
  12. ^ A. Lane, "Citadel of the first Scots", British Archaeology, 62, December 2001. Retrieved 2 December 2010.
  13. ISBN 071900926X
    , pp. 2–4.
  14. ISBN 1843836289
    , p. 5.
  15. ISBN 0-333-37185-2
    , pp. 244–7.
  16. ^ G. Henderson, Early Medieval Art (London: Penguin, 1972), pp. 63–71.
  17. ISBN 0879519762
    , pp. 113–114 and 120–130.
  18. ISBN 1-85109-440-7
    , pp. 915–19.
  19. ISBN 0-300-06493-4
    , pp. 85 and 90.
  20. ^ Laing, Later Celtic Art in Britain and Ireland, p. 37.
  21. ISBN 0-19-162433-0
    , p. 190.
  22. ^
    ISBN 0-333-56761-7
    , pp. 127–9.
  23. ISBN 0-415-02992-9
    , p. 117.
  24. ISBN 0-631-21785-1
    , p. 532.
  25. ISBN 1-84383-192-9
    , pp. 125–8.
  26. ^ R. Brydall, Art in Scotland: its Origins and Progress (Edinburgh and London: Blackwood, 1889), p. 17.
  27. ^ M. R. Apted and W. R. Robinson, "Late fifteenth century church painting from Guthrie and Foulis Easter", Proceedings of the Society of Antiquaries of Scotland, vol. 95, (1964), pp. 262–79.
  28. ^
    ISBN 0-7486-0276-3
    , pp. 57–9.
  29. ^ D. H. Caldwell, ed., Angels, Nobles and Unicorns: Art and Patronage in Medieval Scotland (Edinburgh: National Museum of Scotland, 1982), p. 84.
  30. ISBN 0-7486-0849-4
    , p. 14.
  31. ISBN 0-7509-3527-8
    , p. 90.
  32. ISBN 0-11-491310-2
    , p. 21.
  33. ^ Michael Pearce, 'A French Furniture Maker and the 'Courtly Style' in Sixteenth-Century Scotland', Regional Furniture, 32 (2018), pp. 127-136.
  34. ^ Wormald, Court, Kirk, and Community, pp. 102–4.
  35. ^ a b c d A. Thomas, The Renaissance, in Devine and Wormald, The Oxford Handbook of Modern Scottish History, pp. 198–9.
  36. ISBN 1859735088
    , p. 102.
  37. ISBN 1-4051-3740-1
    , pp. 455–6.
  38. ^ Mary Anne Everett Green, Calendar State Papers Domestic, Addenda 1580-1625 (London, 1872), pp. 364-5.
  39. ^ Wormald, Court, Kirk, and Community, p. 193.
  40. ^ The Laws of Scotland: Stair Memorial Encyclopaedia, vol. 7 "The Crown", para 847.
  41. ^
    ISBN 1-4094-2618-1
    , p. 153.
  42. ISBN 0-19-162243-5
    .
  43. ^ "Allan Ramsey", Encyclopædia Britannica. Retrieved 7 May 2012.
  44. ^ "Gavin Hamilton", Encyclopædia Britannica. Retrieved 7 May 2012.
  45. ^
    ISBN 0-19-953294-X
    , p. 554.
  46. ^
    ISBN 0-618-25210-X
    , pp. 34–5.
  47. ISBN 0-06-055888-1
    , p. 163.
  48. ^
    ISBN 0-521-64202-7
    , pp. 151–3.
  49. ISBN 0-300-05833-0
    , p. 293.
  50. ^
    ISBN 1-902669-73-8
    , pp. 142–3.
  51. ISBN 1-906261-08-3
    , p. 84.
  52. ^ Chilvers, Oxford Dictionary of Art and Artists, p. 433.
  53. ISBN 0-7546-6806-1
    , p. 104.
  54. ISBN 1-55002-159-1
    , p. 401.
  55. ^ Chisholm, Hugh, ed. (1911). "Geddes, Andrew" . Encyclopædia Britannica. Vol. 11 (11th ed.). Cambridge University Press. pp. 547–548.
  56. ^ Chilvers, Oxford Dictionary of Art and Artists, pp. 678–9.
  57. ISBN 9774244028
    , p. 42.
  58. ^
    ISBN 0-8061-3253-1
    , p. 136.
  59. ISBN 0-7112-2906-6
    , p. 27.
  60. ^ Chilvers, Oxford Dictionary of Art and Artists, p. 376.
  61. ISBN 0415007755
    , p. 116.
  62. ISBN 0719058678
    , p. 165.
  63. ISBN 1873830130
    .
  64. ISBN 0500203334
    , pp. 90–1.
  65. ^ MacDonald, Scottish Art, pp. 125–7.
  66. ^
    ISBN 0199693056
    , pp. 476–7.
  67. ^ MacDonald, Scottish Art, pp. 146–7.
  68. ISBN 0486267504
    , p. 239.
  69. ISBN 0192842005
    , pp. 51–2.
  70. ISBN 0500203334
    , pp. 205–8.
  71. ^ a b Macmillan, Scottish Art, p. 348.
  72. ^ MacDonald, Scottish Art, p. 100.
  73. ^ Chilvers, Oxford Dictionary of Art and Artists, p. 209.
  74. ^ a b Macmillan, Scottish Art, p. 213.
  75. ISBN 0674013905
    , p. 275.
  76. ^ MacDonald, Scottish Art, p. 151.
  77. ISBN 1851494553
    .
  78. ISBN 0-7486-2027-3
    , p. 170.
  79. ^ a b MacDonald, Scottish Art, pp. 155–6.
  80. ^ MacDonald, Scottish Art, pp. 156–7.
  81. ISBN 0-7112-2906-6
    .
  82. ^ a b Chilvers, Oxford Dictionary of Art and Artists, p. 255.
  83. ISBN 0-486-41794-8
    , pp. 283–4.
  84. ^ a b Chilvers, Oxford Dictionary of Art and Artists, p. 575.
  85. ^ "The Scottish Colourists", Explore Art, retrieved 12 November 2012
  86. ^ "The Scottish Colourists", Visit Scotland.com, archived from the original on 29 April 2008, retrieved 7 May 2010
  87. ^ a b c "The Edinburgh School" Archived 16 November 2017 at the Wayback Machine, Edinburgh Museums and Galleries. Retrieved 10 April 2013.
  88. ISBN 0199693056
    , pp. 153–4.
  89. ^ "Adam Bruce Thompson. Painting the Century. 6–30 December 2013". The Scottish Gallery, Edinburgh. Retrieved 16 January 2015.
  90. ^ "Presidents and Secretaries – Society of Scottish Artists".
  91. ^ "past members". Archived from the original on 4 March 2016.
  92. ^ The Life and Art of William Geissler (1894–1963): Norman Shaw, MPhil Thesis, Edinburgh College of Art, 1994
  93. ^ The Art of William Geissler 1894–1963, Poetry of Place, Author: Alistair (Introduction) Rowan, Publisher: Edinburgh College of Art, 1996
  94. ^
    ISBN 1-119-99276-1
    , p. 25.
  95. ^ Macmillan, Scottish Art, p. 350.
  96. ^
    ISBN 0-7486-2027-3
    , p. 173.
  97. ^ MacDonald, Scottish Art, pp. 163–4.
  98. ^ Macmillan, Scottish Art, pp. 348–50.
  99. ^ Macmillan, Scottish Art, pp. 351–2.
  100. ^ D. Macmillan, "Review: Painters in Parallel: William Johnstone & William Gillies", The Scotsman, 19 January 2012. Retrieved 8 May 2012.
  101. ^ MacDonald, Scottish Art, pp. 175–6.
  102. ISBN 1840184574
    , p. 80.
  103. ^ a b Macmillan, Scottish Art, pp. 370–1.
  104. ^ MacDonald, Scottish Art, p. 187.
  105. ^ MacDonald, Scottish Art, pp. 189–90.
  106. ^ MacDonald, Scottish Art, pp. 191–2.
  107. ^ MacDonald, Scottish Art, p. 193.
  108. ^ Macmillan, Scottish Art, p. 376.
  109. ^ MacDonald, Scottish Art, p. 194.
  110. ^ K. Johnson (31 March 2006), "Ian Hamilton Finlay, 80, poet and conceptual artist, dies", The New York Times, archived from the original on 8 November 2014
  111. ISBN 0-7546-6124-5
    , p. 58.
  112. ISBN 1-85828-887-8
    , p. 114.
  113. ^
    ISBN 0199693056
    , p. 405.
  114. ^ Macmillan, "Culture: modern times 1914–", p. 406.
  115. ISBN 0500203334
    , p. 202.
  116. ^ Clive Aslet, "Alexander Stoddart: talking statues" The Daily Telegraph. Retrieved 12 July 2008.
  117. ^ C. Henry, "Scots photography loses a champion", Glasgow Herald, 6 January 1990. Retrieved 9 February 2013.
  118. ^ Chilvers Oxford Dictionary of Art and Artists, p. 657.
  119. ISBN 0-8166-4653-8
    , p. 61.
  120. ISBN 0-7546-6124-5
    , p. 177.
  121. ^ C. Higgins (17 October 2011), "Glasgow's Turner connection", The Guardian, archived from the original on 6 April 2012
  122. ISBN 0-7546-0392-X
    , p. 144.
  123. ISBN 1-84708-693-4
    .
  124. ^ G. Wichert, "The Object Moved by Its Own Success", 15 Bytes, 17 October 2008. Retrieved 12 May 2013.
  125. ISBN 0470249129
    , pp. 109–111.
  126. ISBN 1741794757
    , p. 47.
  127. ^ Porter and Prince, Frommer's Scotland, pp. 191–4.
  128. ^ Porter and Prince, Frommer's Scotland, p. 282.
  129. ISBN 1742203744
    , p. 235.
  130. ^ Edinburgh College of Art guide, The Telegraph, 20 June 2011. Retrieved 8 April 2013.
  131. ISBN 1118313771
    .
  132. ISBN 0954454227
    .
  133. ISBN 1400830036
    , pp. 55–6.
  134. ISBN 1840141743
    , p. 137.
  135. ISBN 071905771X
    , p. 141.
  136. ISBN 1408142309
    , p. 410.

Bibliography

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Scottish_art&oldid=1162308280"