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Hill, R. J., Picturing Scotland Through the Waverley Novels: Walter Scott and the Origins of the Victorian Illustrated Novel (Aldershot: Ashgate, 2010), ISBN 0-7546-6806-1. |
Honour, H., and Fleming, J., A World History of Art (London: Macmillan), ISBN 0-333-37185-2. |
Howard, P., Landscapes: the Artists' Vision (London: Taylor & Francis, 1991), ISBN 0415007755. |
Karkov, C. E., The Art of Anglo-Saxon England (Woodbridge: Boydell Press, 2011), ISBN 1843836289. |
Keller, V., Scottish Woman Artists, in Parker, Geoff (ed.), Cencrastus No. 23, Summer 1986, pp. 28 – 33, ISSN 0264-0856. |
Kemp, D., The Pleasures and Treasures of Britain: A Discerning Traveller's Companion (Toronto: Dundurn, 1992), ISBN 1-55002-159-1. |
Koch, J. T., Celtic Culture: a Historical Encyclopedia, Volumes 1–5 (Santa Barbara, CA: ABC-CLIO, 2006), ISBN 1-85109-440-7. |
Küppers, P., The Scar of Visibility: Medical Performances and Contemporary Art (Minneapolis, MN: University of Minnesota Press, 2007), ISBN 0-8166-4653-8. |
Laing, L. R., Later Celtic Art in Britain and Ireland (Bodley: Osprey, 1987), ISBN 0852638744. |
Lane, A., "Citadel of the first Scots", British Archaeology, 62, December 2001. |
Lubbren, N., Rural Artists' Colonies in Europe: 1870–1910 (Manchester: Manchester University Press, 2001), ISBN 0719058678. |
Lyons, H., Christopher Dresser: the People's Designer – 1834–1904 (Woodbridge: Antique Collectors' Club, 2005), ISBN 1851494553. |
MacDonald, M., Scottish Art (London: Thames and Hudson, 2000), ISBN 0500203334. |
Macmillan, D., The Tradition of Painting in Scotland, in Cencrastus No. 1, Autumn 1979, pp. 36 – 38, ISSN 0264-0856. |
Macmillan, D., Scotland and the Art of Nationalism, in Cencrastus No. 4, Winter 1980–81, pp. 33 – 35, ISSN 0264-0856 |
Macmillan, D., Scottish Painting 1500 - 1700, in Hearn, Sheila G. (ed.), Cencrastus No. 15, New Year 1984, pp. 25 – 29, ISSN 0264-0856 |
Macmillan, D., Scottish Painting: Ramsay to Raeburn, in Parker, Geoff (ed.), Cencrastus No. 17, Summer 1984, pp. 25 – 29, ISSN 0264-0856 |
Macmillan, D., Scottish Painting: The Later Enlightenment, in Parker, Geoff (ed.), Cencrastus No. 19, Winter 1984, pp. 25 – 27, ISSN 0264-0856 |
Macmillan, D., "Culture: modern times 1914–", in M. Lynch, ed., Oxford Companion to Scottish History (Oxford: Oxford University Press, 2011), ISBN 0199693056. |
Macmillan, D., Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), ISBN 0500203334. |
Macmillan, D., Scottish Art in the 20th Century, 1890–2001 (Edinburgh: Mainstream, 2001), ISBN 1840184574. |
Maddicott, J. R., and Palliser, D. M., eds, The Medieval State: Essays Presented to James Campbell (London: Continuum, 2000), ISBN 1-85285-195-3. |
Marshall, D. N., "Carved Stone Balls", Proceedings of the Society of Antiquaries of Scotland, 108, (1976/77). |
McKean, C., The Scottish Chateau (Stroud: Sutton, 2nd edn., 2004), ISBN 0-7509-3527-8. |
Neil, J., Ritchie, G. and Ritchie, A., Scotland, Archaeology and Early History, (Edinburgh: Edinburgh University Press, 2nd end., 1991), ISBN 0-7486-0291-7. |
Ochterbeck, C. C., ed., Michelin Green Guide: Great Britain Edition (London: Michelin, 5th edn., 2007), ISBN 1-906261-08-3. |
Pearce, M., 'A French Furniture Maker and the 'Courtly Style' in Sixteenth-Century Scotland', Regional Furniture, 32 (2018), pp. 127–136. |
Porter, D., and Prince, D., Frommer's Scotland (Oxford: John Wiley & Sons, 10th edn., 2008), ISBN 0470249129. |
Prior, N., Museums and Modernity: Art Galleries and the Making of Modern Culture (Oxford: Berg, 2002), ISBN 1859735088. |
Quinn, R.-B. M., Public Policy and the Arts: a Comparative Study of Great Britain and Ireland (Aldershot: Ashgate, 1998), ISBN 1840141743. |
Ramsden, G., Leith: Scotland's Independent Art School: Founders and Followers (Edinburgh: Stone Trough Books, 2009), ISBN 0954454227. |
Reid, D., The Rough Guide to Edinburgh (London: Rough Guides, 3rd edn., 2002), ISBN 1-85828-887-8. |
Richardson, C., Scottish Art Since 1960: Historical Reflections and Contemporary Overviews (Aldershot: Ashgate, 2011), ISBN 0-7546-6124-5. |
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External links |
The Fleming Collection in London, a private collection of Scottish Art held outside Scotland |
Scottish Art Collection |
Spanish art has been an important contributor to Western art and Spain has produced many famous and influential artists including Velázquez, Goya and Picasso. Spanish art was particularly influenced by France and Italy during the Baroque and Neoclassical periods, but Spanish art has often had very distinctive characte... |
The prehistoric art of Spain had many important periods-it was one of the main centres of European Upper Paleolithic art and the rock art of the Spanish Levant in the subsequent periods. In the Iron Age large parts of Spain were a centre for Celtic art, and Iberian sculpture has a distinct style, partly influenced by c... |
Meanwhile, the parts of Spain remaining Christian, or that were re-conquered, were prominent in Pre-Romanesque and Romanesque art. Late Gothic Spanish art flourished under the unified monarchy in the Isabelline Gothic and Plateresque styles, and the already strong traditions in painting and sculpture began to benefit f... |
Spanish Baroque architecture has survived in large quantity, and has both strains marked by exuberant extravagance, as in the Churrigueresque style, and a rather severe classicism, as in the work of Juan de Herrera. It was generally the former which marked the emerging art and Spanish Colonial architecture of the Spani... |
The decline of the Habsburg monarchy brought this period to an end, and Spanish art in the 18th and early-19th century was generally less exciting, with the huge exception of Francisco Goya. The rest of 19th-century Spanish art followed European trends, generally at a conservative pace, until the Catalan movement of Mo... |
Ancient Iberia |
The early Iberians have left many remains; northern-western Spain shares with south-western France the region where the richest Upper Paleolithic art in Europe is found in the Cave of Altamira and other sites where there are cave paintings made between 35,000 and 11,000 BC. The Rock art of the Iberian Mediterranean Bas... |
Iberian sculpture before the Roman occupation reflects the contacts with other advanced ancient cultures who set up small coastal colonies, including the Greeks and Phoenicians; the Sa Caleta Phoenician Settlement on Ibiza has survived to be excavated, where most now lie under large towns, and the Lady of Guardamar was... |
As elsewhere in the Western Empire, the Roman occupation largely overwhelmed native styles; Iberia was an important agricultural area for the Romans, and the elite acquired vast estates producing wheat, olives and wine, with some later emperors coming from the Iberian provinces; many huge villas have been excavated. Th... |
Early Medieval |
The Christianized Visigoths ruled Iberia after the collapse of the Empire, and the rich 7th century Treasure of Guarrazar, probably deposited to avoid looting in the Muslim Conquest of Spain, is now a unique survival of Christian votive crowns in gold; though Spanish in style, the form was probably then used by elites ... |
The jewelled crux gemmata Victory Cross, La Cava Bible and the Agate Casket of Oviedo are survivals from the 9-10th century of the rich Pre-Romanesque culture of the Asturias region in north-western Spain, which remained under Christian rule; the Santa María del Naranco banqueting house overlooking Oviedo, completed in... |
Muslim and Mozarab Spain |
The extraordinary palace-city of Medina Azahara near Córdoba was built in the 10th century for the Ummayad Caliphs of Córdoba, intended as the capital of Islamic Andaluz, and is still being excavated. A considerable amount of the highly sophisticated decoration of the main buildings has survived, showing the enormous w... |
The Pisa Griffin is the largest known Islamic sculpture of an animal, and the most spectacular of a group of such figures from Al-Andalus, many made to hold up the basins of fountains (as at the Alhambra), or in smaller cases as perfume-burners and the like. |
The Christian population of Muslim Spain (the Mozarabs) developed a style of Mozarabic art whose best known survivals are a series of illuminated manuscripts, several of the commentaries on the Book of Revelation by the Asturian Saint Beatus of Liébana (c. 730 – c. 800), which gave subject matter that allowed the brigh... |
Hispano-Moresque ware pottery began in the south, presumably mainly for local markets, but Muslim potters were later encouraged to migrate to the Valencia region, where the Christian lords marketed their luxury lustrewares to elites all over Christian Europe in the 14th and 15th centuries, including the Popes and the E... |
After the expulsion of the Islamic rulers during the Reconquista, considerable Muslim populations, and Christian craftsmen trained in Muslim styles, remained in Spain, and Mudéjar is the term for work in art and architecture produced by such people. The Mudéjar Architecture of Aragon is recognised as a UNESCO World Her... |
Painting |
Romanesque |
In Spain, the art of the Romanesque period represented a smooth transition from the preceding Pre-Romanesque and Mozarabic styles. Many of the best surviving Romanesque church frescos that were at the time found all over Europe come from Catalonia with good examples in the churches of the Vall de Boí area; many of thes... |
Gothic |
The Gothic art of Spain represented a gradual development from previous Romanesque styles, being led by external models, first from France, and then later from Italy. Another distinctive aspect was the incorporation of Mudejar elements. Eventually the Italian influence, which transmitted Byzantine stylistic techniques ... |
Early Renaissance |
Due to important economic and political links between Spain and Flanders from the mid-15th century onwards, the early Renaissance in Spain was heavily influenced by Netherlandish painting, leading to the identification of a Hispano-Flemish school of painters. Leading exponents included Fernando Gallego, Bartolomé Berme... |
Renaissance and Mannerism |
Overall the Renaissance and subsequent Mannerist styles are hard to categorise in Spain, due to the mix of Flemish and Italian influences, and regional variations. |
The main centre for Italian Renaissance influence entering Spain was Valencia due to its proximity and close links with Italy. This influence was felt via then import of artworks, including four paintings by Piombo and many prints by Raphael, the arrival of the Italian Renaissance artist Paolo de San Leocadio, and also... |
Elsewhere in Spain, the influence of the Italian Renaissance was less pure, with a relatively superficial use of techniques that were combined with preceding Flemish practices and incorporated Mannerist features, due to the relatively late examples from Italy, once Italian art was already strongly Mannerist. Apart from... |
artists included Vicente Juan Masip (1475–1550) and his son Juan de Juanes (1510–1579), the painter and architect Pedro Machuca (1490–1550), and Juan Correa de Vivar (1510–1566). |
However, the most popular Spanish painter of the early 17th Century was Luis de Morales (1510?–1586), called by his contemporaries "The Divine", because of the religious intensity of his paintings. From the Renaissance he also frequently used sfumato modeling, and simple compositions, but combined them with Flemish sty... |
Golden Age |
The Spanish Golden Age, a period of Spanish political ascendancy and subsequent decline, saw a great development of art in Spain. The period is generally considered to have begun at some point after 1492 and ended by or with the Treaty of the Pyrenees in 1659, though in art the start is delayed until the reign of Phili... |
El Greco (1541–1614) was one of the most individualistic of the painters of the period, developing a strongly Mannerist style based on his origins in the post Byzantine Cretan school, in contrast to the naturalist approaches then predominant in Seville, Madrid and elsewhere in Spain. Many of his works reflect the silv... |
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