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Andrew Geddes (1783–1844) and David Wilkie (1785–1841) were among the most successful portrait painters, with Wilkie succeeding Raeburn as Royal Limner in 1823. Geddes produced some landscapes, but also portraits of Scottish subjects, including Wilkie and Scott, before he finally moved to London in 1831. Wilkie worked ... |
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). McCulloch's images of places including Glen Coe and Loch Lomond and the Trossachs, became parlour room panoramas that helped to define popular im... |
Sculpture |
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. The first significant Scottish sculptor to pursue their car... |
Early photography |
In the early nineteenth century Scottish scientists James Clerk Maxwell and David Brewster played a major part in the development of the techniques of photography. Pioneering photographers included chemist Robert Adamson (1821–1848) and artist David Octavius Hill (1821–1848), who as Hill & Adamson formed the first phot... |
Influence of the Pre-Raphaelites |
David Scott's (1806–1849) most ambitious historical work was the triptych Sir William Wallace, Scottish Wars: the Spear and English War: the Bow (1843). He also produced etchings for versions of Coleridge's Ancient Mariner, Bunyan's Pilgrim's Progress and J. P. Nichol's Architecture of the Heavens (1850). Because of th... |
The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–64). Dyce befriended the young Pre-Raphaelites in London and introduced their work to John Ruskin. His The Man of Sorrows and David in the Wilderness (both 1860), contain a Pre-Raphaelite attention to detail, bu... |
Arts and Crafts and the Celtic Revival |
The beginnings of the Arts and Crafts movement in Scotland were in the stained glass revival of the 1850s, pioneered by James Ballantine (1808–77). His major works included the great west window of Dunfermline Abbey and the scheme for St. Giles Cathedral, Edinburgh. In Glasgow it was pioneered by Daniel Cottier (1838–9... |
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 m... |
Among the figures involved with the movement were Anna Traquair (1852–1936), who was commissioned by the Union to paint murals in the Mortuary Chapel of the Hospital for Sick Children, Edinburgh (1885–86 and 1896–98) and also worked in metal, illumination, illustration, embroidery and book binding. The most significant... |
Glasgow School |
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 Glasgow Boys, including James Guthrie (1859–1930), Joseph Crawhall (1861–1913), Georg... |
Early twentieth century |
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 and all looked to Paris, particularly to the Fauvists, suc... |
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. They were influenced by French painters and the St. Ives School and their art was characterised by use of vivid and often non-naturalistic c... |
Modernism and the Scottish Renaissance |
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 Hugh MacDiarmid who argued for a synergy between science and art, the introduction of modernism into art and the creation of a dis... |
Other artists strongly influenced by modernism included James McIntosh Patrick (1907–98) and Edward Baird (1904–49). 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 lan... |
New Scottish Group |
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 establi... |
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 expressionism. William Crosbie (1915–99) was strongly influenced by surrealism. Marie de Banzie (1918... |
Contemporary art |
Post-War artists |
Notable post-war artists included Robin Philipson (1916–92), who was influenced by the Colourists, but also Pop Art and neo-Romanticism. 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-Romant... |
Paris continued to be a major destination for Scottish artists, with William Gear (1916–97) and Stephen Gilbert (1910–2007) encountering the linear abstract painting of the avant-garde COBRA group there in the 1940s. Their work was highly coloured and violent in execution. Also a visitor to Paris was Alan Davie (born 1... |
Scottish Realism and the Glasgow Pups |
John Bellany (1942–2013), mainly focusing on the coastal communities of his birth, and Alexander Moffat (born 1943), who concentrated on portraiture, both grouped under the description of "Scottish realism", were among the leading Scottish intellectuals from the 1960s. The artists associated with Moffat and the Glasgow... |
Contemporary sculpture |
While sculptors Eric Schilsky (1898–1974) and Hew Lorimer (1907–93) worked in the existing tradition of modelling and carving, 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. George Wy... |
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). In contrast Sandy Stoddart (born 1959) works pri... |
Photographic renaissance |
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). Important practitioners in Scotland included the Americ... |
Contemporary artists |
Since the 1990s, the most commercially successful artist has been Jack Vettriano (born 1951), whose work usually consists of figure compositions, with his most famous painting The Singing Butler (1992), often cited as the best selling print in Britain. However, he has received little acclaim from critics. Contemporary ... |
Art museums and galleries |
Major art galleries in Edinburgh include the National Gallery of Scotland, which has a collection of national and international art. The National Museum of Scotland, was formed by the merger of the Royal Museum of Scotland and the National Museum of Antiquities and includes items from the decorative arts, ethnography a... |
Art schools and colleges |
Scotland has had schools of art since the eighteenth century, many of which continue to exist in different forms today. Edinburgh College of Art developed from the Trustees Academy founded in the city in 1760 and was established in 1907. After a long independent history, in 2011 it became part of the University of Edin... |
Organisations |
Creative Scotland is the national agency for the development of the arts in Scotland. It superseded the Scottish Arts Council, which was formed in 1994 following a restructuring of the Arts Council of Great Britain, but had existed as an autonomous body since a royal charter of 1967. In addition, some local authorities... |
See also |
Art of the United Kingdom |
References |
Notes |
Bibliography |
Apted, M. R., and Robinson, W. R., "Late fifteenth century church painting from Guthrie and Foulis Easter", Proceedings of the Society of Antiquaries of Scotland, vol. 95, (1964), pp. 262–79. |
Arnold, D., and Corbett, D. P., A Companion to British Art: 1600 to the Present (Oxford: John Wiley & Sons, 2013), ISBN 1118313771. |
Barber, R., The Holy Grail: Imagination and Belief (Cambridge MA: Harvard University Press, 2004), ISBN 0674013905. |
Baudino, I., "Aesthetics and Mapping the British Identity in Painting", in A. Müller and I. Karremann, ed., Mediating Identities in Eighteenth-Century England: Public Negotiations, Literary Discourses, Topography (Aldershot: Ashgate, 2011), ISBN 1-4094-2618-1. |
Billcliffe, R., The Glasgow Boys (London: Frances Lincoln, 2009), ISBN 0-7112-2906-6. |
Bourne, P., Kirkcudbright 100 Years of an Artists' Colony (Glasgow: Atelier Books, 2003), ISBN 1873830130. |
Brydall, R., Art in Scotland: its Origins and Progress (Edinburgh and London: Blackwood, 1889). |
Buchan, J., Crowded with Genius (London: Harper Collins, 2003), ISBN 0-06-055888-1. |
Burn, D., "Photography", in M. Lynch, ed., Oxford Companion to Scottish History (Oxford: Oxford University Press, 2011), ISBN 0199693056. |
Caldwell, D. H., ed., Angels, Nobles and Unicorns: Art and Patronage in Medieval Scotland (Edinburgh: National Museum of Scotland, 1982). |
Campbell, D., Edinburgh: a Cultural and Literary History (Oxford: Signal Books, 2003), ISBN 1-902669-73-8. |
Childe, V. G., The Prehistory of Scotland (London: Taylor and Francis, 1935). |
Chilvers, I., ed., The Oxford Dictionary of Art and Artists (Oxford: Oxford University Press, 4th edn., 2009), ISBN 0-19-953294-X. |
Chisholm, M., Structural Reform of British Local Government: Rhetoric and Reality (Manchester: Manchester University Press, 2000), ISBN 071905771X. |
Clarke, G., The Photograph (Oxford: Oxford University Press, 1997), ISBN 0192842005. |
Collingwood, R. G, and Myres, J. N. L., Roman Britain and the English Settlements (New York, NY: Biblo & Tannen, 2nd edn., 1936), ISBN 978-0-8196-1160-4. |
Devine, T. M., and Wormald, J., The Oxford Handbook of Modern Scottish History (Oxford: Oxford University Press, 2012), ISBN 0-19-162433-0. |
Dodwell, C. R., Anglo-Saxon Art: A New Perspective (Manchester: Manchester University Press, 1982), ISBN 071900926X. |
Dodwell, C. R., The Pictorial Arts of the West, 800–1200 (New Haven, CT: Yale University Press, 1993), ISBN 0-300-06493-4. |
Dunbar, J., The Stirling Heads (London: RCAHMS/HMSO, 1975), ISBN 0-11-491310-2. |
Garber, M., Patronizing the Arts (Princeton University Press, 2008), ISBN 1400830036. |
Gardiner, M., Modern Scottish Culture (Edinburgh: Edinburgh University Press, 2005), ISBN 0-7486-2027-3. |
Gernsheim, H., Creative Photography: Aesthetic Trends, 1839–1960 (Mineola, NY: Courier Dover, 1962), ISBN 0486267504. |
Glendinning, M., MacInnes, R., and MacKechnie, A., A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN 0-7486-0849-4. |
Graham-Campbell, J., and Batey, C. E., Vikings in Scotland: an Archaeological Survey (Edinburgh: Edinburgh University Press, 1998), ISBN 0-7486-0641-6. |
Henderson, G., Early Medieval Art (London: Penguin, 1972). |
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