Publications 2017–18

Home , Anne Redpath, Arthur Melville, Douglas Gordon, Glasgow School, Joan Eardley, Scottish Colourists

Shortlisted for Saltire Society Publisher of the Year New Books

The National Galleries of Scotland’s award-winning TRUE TO LIFE British Realist publishing house is committed to producing books Painting in the on the visual arts which are engaging, accessible 1920s & 1930s and affordable, combining high-quality writing and rigorous research with the best in contemporary design. As well as producing books that provide access to the national collection and accompany exhibitions, we publish a number of titles on different aspects of art, art practice and art history, furthering the Galleries' programme of scholarly research. Our publications are designed to enhance the visitor experience and to reflect and extend the Galleries’ educational and scholarly activities.

Our publications encompass new academic research; fresh perspectives on well-known and loved art; books aimed at introducing those outside Scotland to our national collection, and the Scottish public to artworks from home and abroad; children’s titles; lectures; full catalogues and bite-sized introductions. Most of True To Life: British Realist passed out of fashion as abstraction and our titles are highly illustrated and we are dedicated to Painting in the 1920s & 1930s Pop Art became the dominant trends in ensuring the finest production values. the post-war years. In the last decade Patrick Elliott and Sacha Llewellyn their work has re-emerged and interest We have been shortlisted for Best Exhibition Catalogue 300 X 245MM | 144PP | JULY 2017 in them has grown. Interwar realist art at the British Book Design and Production Awards a 140 COLOUR ILLUSTRATIONS embraces a number of different styles, 978 1 911054 05 4 | £19.95 PAPER number of times and won with From Death to Death and but is characterised by fine drawing, other Small Tales in 2013. In 2016, we were shortlisted British realist art of the 1920s and meticulous craftsmanship, a tendency 1930s is visually stunning – strong, towards classicism and an aversion to for the Saltire Society Publisher of the Year Award. seductive and demonstrating extraordi- impressionism and visible brushwork. nary technical skill – and yet it is often Artists such as Gerald Leslie Brockhurst, overshadowed by abstract art. This book Meredith Frampton, James Cowie and presents the very first overview of British Winifred Knights combine fastidious realist painting of the period, showcasing ‘Old Master’ detail with 1920s modernity. outstanding works from private and Featuring many Scottish and women public collections across the UK. Of the artists, this book promises a fascinating 58 artists featured, many were major discovery of this captivating period of figures in the 1920s and 1930s but later British art.

New Books | 3 A Perfect Chemistry: are among the first images of social A New Era: Scottish Modern Art movements of modern art, from Fauvism Photographs by Hill & Adamson documentary photography. 1900–1950 to Cubism, Abstraction, Constructivism In the space of four and a half years Hill and Surrealism, will also be revealed. J.D. Anne M. Lyden and Adamson produced several thousand Alice Strang Fergusson and S.J. Peploe’s daring work 250 X 205MM | 120PP | (HB) MAY 2017; prints encompassing landscapes, archi- 265 X 245MM | 136PP | DECEMBER 2017 made in pre-World War One Paris is a (PB) JAN 2018 | 110 ILLUSTRATIONS tectural views, tableaux vivants from 80 COLOUR ILLUSTRATIONS lesser known aspect of the famous Scottish 978 1 911054 04 7 | £29.95 HARDBACK Scottish literature and an impressive suite 978 1 911054 16 0 | £19.95 PAPER Colourists’ careers, whilst the exploration 978 1 911054 10 8 | £19.95 PAPER of portraits featuring key members of As Scottish artists began to look of abstraction by artists including William Pioneering Edinburgh photographers Edinburgh society. beyond their own country for inspira- McCance and William Gillies and the David Octavius Hill (1802–1870) and Anne M. Lyden, International tion, absorbing and interpreting ideas Surrealism of William Johnstone and Robert Adamson (1821–1848) together Photography Curator at the National from Europe, they created a definably James Cowie will be at the forefront of a formed one of the most famous partner- Galleries of Scotland, discusses the ‘Scottish’ art partly through a ‘Celtic presentation of avant-garde Scottish art ships in the history of photography. dynamic dispute that brought these two Revival’. This broke down art historical made between the wars. Producing highly skilled photographs men together and reveals their perfect barriers as subject matter moved from A New Era: Scottish Modern Art 1900- just four years after the new medium was chemistry as the first professional partner- reality to ideas, realised in stylised and 1950 will reveal and celebrate Scotland’s announced to the world in 1839, their ship in Scottish photography. simplified forms of beauty and enigma, hitherto unknown radicalism. images of people, buildings and scenes in Illustrated with around 100 full of symbolism and paving the way for and around Edinburgh offer a fascinating masterpieces from the Galleries’ Modernism. glimpse into 1840s Scotland. Their much- unique, vast collection of the duo’s The previously overlooked contri- loved prints of the Newhaven fisherfolk ground-breaking work. butions of Scottish artists to the great

A NEW ERA SCOTTISH MODERN ART 1900–1950

4 | NATIONAL GALLERIES OF SCOTLAND New Books | 5 Joan Eardley: A Sense of Place to tight-knit communities, living under extreme pressure: Townhead suffered from Patrick Elliott with Anne Galastro overcrowding and poverty, and Catterline 240 X 275MM | 120PP | NOVEMBER 2016 from depopulation brought about by the 120 COLOUR ILLUSTRATIONS declining fishing industry. Eardley was 978 1 911054 02 3 | £19.95 PAPER inspired by the humanity she found in Joan Eardley (1921–1963) is one of both places. Scotland’s most admired artists. During These two intertwining strands are the a career that lasted barely fifteen years, focus of this book, which looks in detail at she concentrated on two very distinct Eardley’s working processes. Her method themes: children in the Townhead area can be traced from rough sketches and of central Glasgow, and the fishing village photographs through to pastel drawings of Catterline, just south of Aberdeen, and large oil paintings. Identifying many with its leaden skies and wild sea. The of Eardley’s subjects and drawing on contrast between this urban and rural unpublished letters, archival records and subject matter is self-evident, but the interviews, the authors provide a new and two are not, at heart, so very different. remarkably detailed account of Eardley’s Townhead and Catterline were home life and art.

JOAN EARDLEY Emil Nolde painted, identifying with his subjects in A SENSE OF PLACE every brushstroke he made, heightening Keith Hartley, Sean Rainbird, his colours and simplifying his shapes, so Christian Weikop, Frances Blythe and that we, the viewers, can also experience Astrid Becker his emotional response to the world about 265 X 245MM | 136PP | FEBRUARY 2018 him. This is what makes Nolde one of 100 COLOUR ILLUSTRATIONS Germany’s greatest expressionist artists. 978 1 911054 15 3 | £20 PAPER This book comprising of five essays Emil Nolde (1867–1956) was one of the has over 100 illustrations, drawn from greatest colourists of the twentieth the incomparable collection of the Emil century. An artist passionate about his Nolde Foundation in Seebüll (the artist’s north German home near the Danish former home in north Germany). It covers border, with its immense skies, flat, Nolde’s complete career, from his early windswept landscapes and storm-tossed atmospheric paintings of his homeland seas, he was equally fascinated by the right through to the intensely coloured, demi-monde of Berlin’s cafés and cabarets, so-called ‘unpainted paintings’, works the busy to and fro of tugboats in the port done on small pieces of paper during the of Hamburg and the myriad of peoples and Third Reich, when Nolde was branded places he saw on his trip to the South Seas a ‘degenerate’ and forbidden to work as in 1914. Nolde felt strongly about what he an artist.

6 | NATIONAL GALLERIES OF SCOTLAND New Books | 7 The Monarch of the Glen on a new role as marketing image which christopher baker · gave it global recognition. It also inspired J.M.W.TURNER Christopher Baker The Vaughan Beques the work of a wide spectrum of other 190 X 170MM | 64PP | SEPTEMBER 2017 artists, ranging from Sir Bernard Partridge J. M.W.Turner 1775–1851 was perhaps the most proliﬁc and 30 ILLUSTRATIONS

innovative of all British artists. His outstanding watercolours and Ronald Searle to Sir Peter Blake and J.M.W.TURNER 978 1 911054 17 7 | £9.99 HARDBACK in the National Gallery of Scotland are one of the most popular Peter Saville. Today the picture has an features of its collection. Bequeathed to the Gallery in 1899 by the distinguished collector Henry Vaughan, they have been exhibited, The Monarch of the Glen by Sir Edwin intriguing status, being seen by some as a as he requested, every January, for over 100 years. Re nowned for · Landseer (1802–1873) is one of the most splendid celebration of Scotland’s natural their excellent state of preservation, they provide a remarkable THE VAUGHAN BE overview of many of the most imp or tant aspects of Turner’s celebrated paintings of the nineteenth wonders and by others as an archaic career. This richly illustrated book, provides a commentary century and was acquired by the National trophy. This publication will make a signif- on the watercolours, addressing questions of technique and function, as well as considering some of the numerous contacts Galleries of Scotland in 2017. In this new icant contribution to the debates that it

Turner had with other artists, collectors and dealers. The intro Q UEST book, the first to focus in detail on this continues to stimulate. duction concentrates on Henry Vaughan, one of the greatest

enthusiasts for British art in the late nineteenth century, whose · national galleries of scotland iconic picture, Christopher Baker explores Christopher Baker has been the diverse collections have not previously been fully appreciated. national galleries of scotland · isbn 1 903278 89 9 its complex and fascinating history. He Director of the Scottish National Portrait places Landseer’s work in the context of Gallery since 2012 and in addition is the artist’s meteoric career, considers the currently Acting Director of the Scottish circumstances of its high-profile commis- National Gallery. sion, and its extraordinary subsequent reputation. When so much Victorian art fell out of fashion Landseer’s Monarch took

REVISED EDITION J.M.W. Turner: The Vaughan Bequest Christopher Baker and Charlotte Topsfield

220 X 245MM | 120PP | JANUARY 2018 60 COLOUR ILLUSTRATIONS 978 1 911054 09 2 | £12.95 PAPER

J.M.W. Turner was perhaps the most prolific and innovative of all British artists. His outstanding watercolours in the Scottish National Gallery are one of the most popular features of its collection. Bequeathed in 1899 by the distinguished collector Henry Vaughan, they have been exhibited, as he THE MONARCH OF THE GLEN requested, every January, for over 100 years. EDWIN LANDSEER Renowned for their excellent state of preservation, they provide a remarkable overview of many of the most important aspects of Turner's career.

8 | NATIONAL GALLERIES OF SCOTLAND New Books | 9 Graham Fagen / Douglas in the Great Hall of the Scottish National Gordon / Jackie Kay Portrait Gallery. Black Burns will address many of the Julie Lawson and Michael Morris key concerns in Gordon’s work. It will be 200MM X 135MM | 96PP | JULY 2017 created on site in the Great Hall in July 90 ILLUSTRATIONS 2017, and aims to render Flaxman’s totemic 978 1 911054 12 2 | £12.99 PAPER sculpture of Scotland’s national hero at This limited-edition book documents the once more human, more vulnerable and work of two leading contemporary artists: more exposed. Douglas Gordon and Graham Fagen; here, Graham Fagen’s evocative video both artists respond to the representation installation The Slave’s Lament, 2015 is and status of the famous Scottish poet a response to Robert Burns’ The Slave’s Robert Burns (1759–1796). Lament (1792), his only work to empathise Commissioned poems by Jackie Kay, with the appalling hurt of the displaced, the third Scottish Makar (National Poet the trafficked and the enslaved. A beau- of Scotland) feature at the centre of tiful lyric written over 200 hundred years the book. ago, it is a narrative that remains entirely Douglas Gordon’s installation, Black contemporary. This publication serves as a Burns, is a thought-provoking response photographic record of the installation that to the full-length marble statue of Robert was met with great acclaim at the Venice Nathan Coley politics that Coley’s work inhabits, as Burns, by John Flaxman, which stands Biennale in 2015. well as the deeply personal responses that Ewan Morrison Coley’s work can generate. 220 X 226MM | 48PP | JULY 2017 This book accompanies the exhibition HQ ART PAPER 22 COLOUR ILLUSTRATIONS NOW at the Scottish National Gallery of 978 1 911054 13 9 | £9.95 PAPER Modern Art, Edinburgh (25 March to This richly illustrated publication explores 24 October 2017). the work of contemporary artist Nathan St Paul’s Cathedral had already been burned to the ground four times from its foundation in AD 604 to the time after the Great Fire of London when Sir Christopher Wren was commissioned to rebuild it, one thousand years later. Its struggle with destruction through fire was Coley. It offers a detailed look at three of dramatised in December 1940, during the Second Great Fire of London – the Blitz – when Sir Winston Churchill made a call to demand that all firefighting resources be directed toward St Paul’s: ‘The Cathedral must be saved . . . damage to the fabric would sap the morale of the country.’4 The idea of a cathedral that gave an entire nation his most significant sculptural works: The unity is ironic given the conflict Wren’s designs created. The final design was only reached after four preceding versions and much disagreement: the Scheme or First Model was rejected; then the Greek Design; then the Great Design with its vast dome; and finally, the Italianate Great Model was rejected. The Warrant Design, so-called Lamp of Sacrifice, 286 Places of Worship, because it received the royal seal of approval, was passed only with a greatly reduced dome and a style that mimicked the Gothic of English churches. Building began in 1675, but the design was redeveloped during construction over thirty years. Through this process, Wren was able to reintroduce the large dome inspired by St Peter’s in Rome Edinburgh 2004, 2004; Paul, 2015; and Tate and an expansion of scale and decoration. One may look at this through the eyes of the Postmodern and see in St Paul’s a plurality of ideologies in conflict and compromise; one could see this building as a work of historical bricolage.5 Such an interpretation would play down (to the point of erasure) the issues of faith, inspiration and Modern on Fire, 2017, which is reproduced genius that may lie within the structure. It would deny that the structure of St Paul’s may be a masterful overlaying of maps of meaning that achieves unity of purpose and form.

and discussed here for the first time. 14 In a newly commissioned text, THE BLACK award-winning novelist, screenwriter and BURNS director Ewan Morrison focuses on these SLAVE’S douglas gordon three sculptures to explore the complexity LAMENT and ambiguity of Coley’s artistic practice. graham fagen Morrison brings into play different narra- 1 tive forms and voices to draw attention to the realms of history, art history and

10 | NATIONAL GALLERIES OF SCOTLAND New Books | 11 System, Chance but also as a means of exploring wider archival notions of memory, keeping and Jonathan Carson, Rosie Miller, Patricia caring. These themes are among those Allmer, Kirstie Meehan, John Sears and investigated in this book. Kerry Watson

150 X 215MM | 28PP | NOVEMBER 2016 25 COLOUR ILLUSTRATIONS 978 1 911054 03 0 | £4.95 PAPER

This publication is a record of a relationship between an institutional archive and two artists, working in collaboration. The artists Carson & Miller proposed in 2013 that they might pursue their established practice of play and game-playing in the archives of the Scottish National Gallery of Modern Art, and a series of games and play took place during 2014 and 2015 before culminating in the exhibition Archive Games in 2015. Carson & Miller use play and game-play Karla Black + Kishio Suga: extensive photography of these transient in their collaborative practice as a tool with A New Order artworks to form an invaluable record of which to navigate archives and collections, the show. Julie-Ann Delaney (ed.); Karla Black and Kishio Suga

Kishio Suga Left-Behind Situation, 1972 / 2016 220 X 235MM | 48PP | FEBRUARY 2017 捨置状況 (Shachi Jōkyō), 1972 / 2016 39 COLOUR ILLUSTRATIONS 978 1 911054 08 5 | £9.95 PAPER WITH JACKET

This book beautifully presents the exhibition A New Order, which brought together for the first time the work of

Karla Black Actually Mark, 2016

artists Karla Black and Kishio Suga. potential for it to be purely gestural; and there’s nothing wrong with that, but that’s not what I do. I feel like it could be far too self-indulgent. Another way to paralyse the creative process is by wor- rying at the beginning about whether it is going to last for ten years? For 500 years? I try to put these things aside and worry about them later on instead. First, I just get in amongst the materials and do what I think should be done Although the two live and work on oppo- with them. People generally assume that what I’m doing is a choice, but that’s not necessarily the case, because choices are limited, especially when making sculpture or any sort of artwork. Like anyone else, I’m working within the limits of the physical world – even just things like the force of gravity. There are going to be things that I want to do but can’t. What I want is the life and the energy within the materials to be there. To be felt, or communicated, site sides of the world, and were unaware or however you might describe that. Also I have a real desire for permanence, because I care so much about the aesthetics. What’s really important to me in my work is the relationship between composition, form, colour and mater ial, and getting that right. When I make what I think is a good piece of work, I want nothing more than for it to stay like that forever. When it’s finished, it’s finished. Obviously the materials that I use compromise this. At one point I of each other’s art until this exhibition thought to myself: ‘If you want it to stay like that, you know what to do: use stone, wood, metal.’ But I just feel that those materials are too static. The life, the energy, isn’t there. The work doesn’t have the movement that I want, or the openness to other people. So I made a choice not to use those things. That’s not to say that I don’t want perma- was conceived, they are united by their nence, because I do. 29 use of everyday materials to create

Kishio Suga Inactive Environment, 1970 Kishio Suga Branched Condition, 1973 Kishio Suga Connection, 1973 Kishio Suga Floating Units of Perception, 1973 sculptural works of sublime beauty, 無為状況 (Mui Jōkyō), 1970 枝況 (Shikyō), 1973 弦 (Gen), 1973 水上識体 (Suijō Shikitai), 1973 Kishio Suga Elemental Realm, 1974 Kishio Suga Remaining Locating, 1975 Kishio Suga Remaining Space, 1975 Kishio Suga Natural Order, 1975 素界 (Sokai), 1974 留位地 (Ryūichi), 1975 間留 (Kanryū), 1975 自然律 (Shizenritsu), 1975 complexity and originality, which they make in response to specific spaces. An interview with Karla Black and an essay by Kishio Suga offer a deeper insight into the artists’ work and complement the

12 | NATIONAL GALLERIES OF SCOTLAND New Books | 13 Popular F.C.B. Cadell SURREAL ENCOUNTERS Alice Strang collecting the marvellous 265 X 245MM | 96PP 80 COLOUR AND 8 BLACK AND WHITE ILLUSTRATIONS 978 1 906270 40 7 | £16.95 PAPER

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. A special section concentrates on Cadell’s relationship with Iona, where he painted nearly Surreal Encounters: every year from 1912 until 1935. The book accompanied a major exhibition at Collecting the Marvellous the Scottish National Gallery of Modern Dawn Ades, Richard Calvocoressi, Art in 2011–12, the first retrospective Désirée de Chair, Elizabeth Cowling, exhibition of Cadell’s work held at a public Hubertus Gaßner, Annabelle Görgen, gallery since 1942. Keith Hartley, Saskia van Kampen-Prein and Antony Penrose Modern Scottish Women: 1965, when Anne Redpath, the doyenne 300 X 245MM | 240PP Painters and Sculptors of post-Second World War Scottish 220 COLOUR ILLUSTRATIONS 978 1 906270 97 1 | £19.95 PAPER 1885–1965 painting died, an unprecedented number of Scottish women trained and worked This book provides an exceptional Edited by Alice Strang as artists. This book focuses on forty-five overview of Surrealism, bringing together 265 X 245MM | 128PP Scottish female painters and sculptors important works by artists including 60 COLOUR ILLUSTRATIONS and explores the conditions that they Salvador Dalí, Max Ernst, René Magritte 978 1 906270 89 6 | £18.95 PAPER negotiated as students and practitioners and Joan Miró. In 1885 Sir William Fettes Douglas, due to their gender. Many of the artists Ten essays by leading scholars provide President of the Royal Scottish featured are not widely known and so an insight into the way that four key Academy, declared that the work of a will be a revelation to readers, whilst collections of surrealist art were formed woman artist was ‘like a man’s only others with established reputations and the motivations behind their creation. weaker and poorer’. Yet between 1885, are evaluated afresh. An essay by Alice Together these collections, formed by when Fra Newbery was appointed Strang and artist entries by twenty-one Roland Penrose, Edward James, Gabrielle Director of Glasgow School of Art and authors uncover and celebrate women’s Keiller and Ulla and Heiner Pietzsch, did much in terms of gender equality contribution to this chapter of Scottish create a many-faceted glimpse of the amongst his staff and students, and modern art history. ‘marvellous’.

14 | NATIONAL GALLERIES OF SCOTLAND Popular | 15 de Chassey and Frances Spalding as well as Inspiring Impressionism: a historic interview with the artist by Robert Facing World the Daubigny, Monet, Van Gogh Kudielka, which together contextualise Riley’s early developments and demonstrate Lynne Ambrosini, Nienke Bakker, how her latest paintings progress directly out René Boitelle, Michael Clarke, Maite This is FINE GERMAN DESIGN. vanThe self-portrait Dijk is one of andthe most fascinating Frances themes in art history. Fowle of a rigorous engagement with colour. This book illustrates an exciting survey of around 150 self-portraits from Rembrandt to Ai Weiwei, covering six centuries and a wide variety of media. Featured artists include such famous names as Palma Vecchio, 265Gustave X Courbet, 245MM Anselm Feuerbach, | Ernst176PP Ludwig Kirchner, Henri Matisse, Max Beckmann, Andy Warhol, Marina Abramović and Tracey Emin. The works are drawn from three major European collections: Self-portraits from Rembrandt to Ai Weiwei 140 COLOUR ILLUSTRATIONS Daubigny and Impressionism the Staatliche Kunsthalle Karlsruhe, the Musée des Beaux-Arts in Lyon and the National Galleries of Scotland in Edinburgh. Introductory essays 978by three 1 distinguished 906270 authors representing 86 5 each | of£24.95 the participating PAPER member countries of the European Union delve further into a topic Frances Fowle which, in the age of the selfie, Facebook and Instagram, seems more Charlesrelevant than ever. François Daubigny was one of the 200 X 225MM | 36PP most important French landscape painters 22 COLOUR ILLUSTRATIONS 978 1 911054 00 9 | £7.95 PAPER of the nineteenth century. He helped to shape Impressionism through his working Known today for his atmospheric views of practice: routinely painting outdoors, the River Oise, Daubigny was a pioneer of often from his studio boat; exploring new modern landscape painting and an impor- www.snoeck.de subjects and unexpected viewpoints; and tant precursor of French Impressionism. Facing the World Snoeck Self-portraits from Rembrandt to Ai Weiwei developing a radically 'unfinished' style ISBN 978-3-86442-139-6 Although commercially highly successful and a brighter palette. His more subjective he was often criticised for his broad, interpretation of nature in his later sunsets sketch-like handling and unembellished Bridget Riley: Paintings Facing the World: Self-portraits and nocturnes inspired not only Monet, but view of nature, and was dubbed the leader 1963–2015 from Rembrandt to Ai Weiwei Vincent van Gogh, who spent the last two of ‘the school of the impression’. As a months of his life close to Daubigny's home Éric de Chassey, Frances Spalding and result he drew the attention of the next James Hall, Pierre Vaisse, Wolfgang and studio at Auvers-sur-Oise. Robert Kudielka generation of artists, among them Claude Ullrich et al. Monet and Vincent van Gogh, who were 255 X 215MM | 96PP 300 X 240MM | 288PP 30 COLOUR ILLUSTRATIONS inspired by Daubigny’s frank naturalism, 180 COLOUR ILLUSTRATIONS 978 1 909932 26 5 | £17.95 HARDBACK bold compositions and technical inno- 978 1 906270 96 4 | £29.95 PAPER RIDINGHOUSE IN ASSOCIATION WITH vations. Theirs was an artistic dialogue PUBLISHED IN COLLABORATION WITH NATIONAL GALLERIES OF SCOTLAND which spanned thirty years, from the early SNOECK Spanning over fifty years of Bridget Riley’s 1860s to the end of Van Gogh’s short life. The self-portrait is one of the most fasci- career, this volume explores the dialogue nating themes in art history. This book DAUBIGNY between monochrome and colourKnown today for his inatmospheric the views illustrates an exciting survey of around of the River Oise, Daubigny was a pioneer of

modern landscape painting and an important AND IMPRESSIONISM DAUBIGNYAND artist’s work. precursor of French Impressionism. Although 150 self-portraits from Rembrandt to Ai commercially highly successful he was often IMPRESSIONISM criticised for his broad, sketch-like handling Riley gained critical attentionand unembellished interna view of nature, and - Weiwei, covering six centuries and a wide was dubbed the leader of ‘the school of the tionally for her black-and-whiteimpression’. As paintingsa result he drew the attention of the next generation of artists, among them variety of media. The works are drawn Claude Monet and Vincent van Gogh, who during the mid-1960s, usingwere elementary inspired by Daubigny’s frank naturalism, bold compositions and technical innovations. from three major European collections: Theirs was an artistic dialogue which spanned shapes to engage the eye by creatingthirty years, from the early 1860sflux to the the Staatliche Kunsthalle Karlsruhe, end of Van Gogh’s short life. and rhythm within the pictorial field. the Musée des Beaux-Arts in Lyon and Throughout the succeeding decades, the National Galleries of Scotland in Riley has continued her investigation into national of scotland galleries Edinburgh. Introductory essays delve perception through related bodies of work further into a topic which, in the age of in rich colour. the selfie, Facebook and Instagram, seems This volume includes essays by Éric more relevant than ever.

16 | NATIONAL GALLERIES OF SCOTLAND Popular | 17 Kurz Luxor 377 ARTHUR MELVILLE

Rubens & Company: Flemish LEIG H

JOHN LEIGHTON T

Drawings from the Scottish O N

National Gallery · ADVENTURES IN COLOUR Christian Tico Seifert

245 X 220MM | 80PP 60 COLOUR ILLUSTRATIONS 978 1 906270 98 8 | £7.95 PAPER

This book presents a selection of the Director-General Sir John Leighton is intended to evoke the special character of The Amazing the collection at the National Galleries with Arthur Melville (1855–1904) was arguably In this comprehensive survey of Arthur Melville’s outstanding Flemish drawings from the the most innovative and modernist Scottish artist career, the artist emerges as Orientalist, forerunner National Gallery. Together these galleries and international art as well as the many of his generation and one of the finest British of the Glasgow Boys, painter of modern life and World of conversations that it establishes between the watercolourists of the nineteenth century. During his re-interpreter of the landscape of Scotland. His collectionbe foundof anywhere the in the world, National ranging art of the past and Galleriesthe present. of from the thirteenth century to the present lifetime critics were compelled to find new ways to spectacular watercolours – adventures in colour – day. Many of the greatest names in Western is Director-General describe his work; he painted in ‘blobs’ and ‘spots’. were inspired by his travels and his later works in oils M. C. Escher art are represented by major works, from of the National Galleries of Scotland. He was In 1943 the Scottish Colourist J.D. Fergusson were equally radical and ambitious. Opening with ISBN 978 1 906270 87 2 Scotland.T itMastersian, Rembrandt and Vermeer through such to formerly Direcastor of theRubens, Van Gogh Museum in Van confessed that although they never met, ‘his work a career survey by Kenneth McConkey, this book Amsterdam and Curator of nineteenth-century paintings at the National Gallery in London. opened up to me the way to free painting – not merely illustrates over seventy of his works, each with a illustrated book contains one hundred of the 9 7 8 1 9 0 6 2 7 0 8 7 2 National Galleries of Scotland’s greatest and He is the author of numerous publications and aona aees freedom in the use of paint, but freedom of outlook’. catalogue entry. 9 7 8 1 9 0 6 2 7 0 0 1 8 ARTHUR MELVILLE Dyck and Jordaens featureexhibition catalogues on ninealongsideteenth-century art. less- ADVENTURES IN COLOUR o oan er-known artists including David Teniers the Younger,100 Paperback2.indd 1 Jan Cossiers and Cornelis 15/04/2015 22:05 Arthur Melville: The Amazing World of Schut. Many of the works are preparatory 100 Masterpieces drawings or studies which offer a fasci- Adventures in Colour M.C. Escher nating insight into the process of these National Galleries of Scotland Kenneth McConkey and Charlotte Micky Piller, Patrick Elliott and revered artists. Sir John Leighton Topsfield Frans Peterse An introductory essay complements 280 X 240MM | 240PP a catalogue of twenty-six works, many of 265 X 245MM | 136PP 220 X 245MM | 144PP 150 COLOUR ILLUSTRATIONS 80 COLOUR ILLUSTRATIONS 80 COLOUR ILLUSTRATIONS which have never before been illustrated 978 1 906270 01 8 | £24.95 PAPER 978 1 906270 87 2 | £18.95 PAPER 978 1 906270 88 9 | £19.95 PAPER in colour. This book is a captivating 978 1 906270 73 5 | £35 HARDBACK resource for academics and anyone inter- Arthur Melville (1855–1904) was arguably The Dutch artist M.C. Escher (1898–1972) ested in drawing or Flemish art. Together, the three galleries that make the most innovative and modernist Scottish created some of the most celebrated up the National Galleries of Scotland and extraordinary images in twenti- artist of his generation and one of the finest house one of the finest collections of art British watercolourists of the nineteenth eth-century art, yet he remains an elusive Rubens & Company to be found anywhere in the world. Many century. During his lifetime critics were figure. In the 1960s, when his reputation Flemish Drawings from the Scottish National Gallery of the greatest names in Western art are compelled to find new ways to describe his sky-rocketed, he was championed on represented by major works, from Titian, work; he painted in ‘blobs’ and ‘spots’. the one hand by leading mathematicians Rembrandt and Vermeer through to In this comprehensive survey of Arthur who admired his grasp of geometry, and Picasso, Hockney and Warhol. Melville’s career, the artist emerges as on the other by hippies who claimed him This lavishly illustrated book contains Orientalist, forerunner of the Glasgow as the godfather of psychedelic art. Rock Boys, painter of modern life and re-inter- stars and teenagers were equally amazed 100 of the National Galleries of Scotland’s preter of the landscape of Scotland. His by Escher’s ingenuity and imagination, greatest and best-loved treasures. The spectacular watercolours – adventures in yet the art world looked upon him – and selection made by the Director-General colour – were inspired by his travels and his still looks upon him – with reserved Sir John Leighton evokes the special later works in oils were equally radical and judgement; in short, his work is ripe for character of the collection, with its ambitious. Opening with a career survey by rediscovery and reappraisal. distinctive interplay between Scottish Kenneth McConkey, this book illustrates and international art, as well as the many over seventy of his works, each with a conversations that it establishes between catalogue entry. the art of the past and the present.

18 | NATIONAL GALLERIES OF SCOTLAND Popular | 19 The Printmaker’s Art Winifred Nicholson in Scotland Hannah Brocklehurst and Alice Strang

Kerry Watson 195 X 175MM | 64PP JOAN EARDLEY 200 X 220MM | 96PP THE TO 28 COLOUR ILLUSTRATIONS 60 COLOUR ILLUSTRATIONS ROBERTS 978 1 906270 90 2 | £9.99 HARDBACK 978 1 906270 75 9 | £14.95 PAPER Throughout her long career, Winifred The print collections of the National Nicholson (1893–1981) was concerned Galleries of Scotland reveal a diverse and with capturing light, colour and radiance dazzling variety of different techniques Robert in her work and is best known for her and approaches to printmaking. From Colquhoun sensitive and joyful flower paintings. In exquisite copperplate engravings by the & Robert 1920 she married Ben Nicholson and their old masters to woodblocks cut on kitchen MacBryde mutually influential artistic relationship tables, this book examines key works lasted, despite separation, until Winifred’s by artists from Dürer to Warhol and death in 1981. During the 1950s, Winifred beyond, giving readers an introduction made regular working trips to Scotland, to printmaking as an art form and an often with the poet, Kathleen Raine. They understanding of the different working frequently stayed at Sandaig on the west Joan Eardley methods and materials. Through tech- The Two Roberts: Robert coast and in the Western Isles. This book, Fiona Pearson with an essay by nical summaries and featured examples, Colquhoun & Robert MacBryde based on personal correspondence and Sara Stevenson The Printmaker’s Art draws on the print Patrick Elliott with Adrian Clark and the recollections of relatives, friends and and archive collections of the National Davy Brown painting partners, examines Winifred’s 265 X 245MM | 96PP Galleries of Scotland to illustrate and love of Scottish landscape and her fascina- 100 ILLUSTRATIONS 265 X 245MM | 120PP 978 1 906270 76 6 | £14.95 PAPER explain the mysteries of relief and intaglio tion with the quality of light created by the 100 COLOUR ILLUSTRATIONS printing, lithography, screenprint, photo 978 1 906270 74 2 | £14.95 PAPER ever-changing weather conditions. Joan Eardley was one of the best mechanical and digital processes. loved Scottish artists of the twentieth Robert Colquhoun and Robert MacBryde century. Her observations of children were among the most fascinating and in the back streets of Glasgow as well as important artists of the post-war period strang alice her expressionistic drawings and oils in Britain. Gay, working-classWINIFRED Scots NICHOLSON from IN SCOTLAND WINIFRED NICHOLSON

of the elements on the north-east coast

Winifred Nicholson in Scotland Ayrshire, they electrified the London IN SCOTLAND of Scotland have caught the imagina- art scene in the 1940s, holdingThroughout sell-outher long career, This is the place after my heart … Winifred Nicholson was concerned Not a tree, not a bush. But grey tion of the Scottish public. Eardley is with capturing light, colour and boulders, grey rocks, grey stones, shows and attracting internationalradiance in her work and is best grey mountains. And bog in known for her sensitive and joyful between – In the bog, lochs with cherished as a painter of the Scottish interest. Yet within a decadeﬂower paintings.they In were she waterlilies, and rare ferns that love married Ben Nicholson and their the black peaty soil – The sea full identity in both town and country, mutually inﬂuential artistic rela- of grey mysterious islands and penniless and they died alltionship but lasted, forgotten. despite separation, rocks, seals and seabirds. White

who had a unique ability to sum up a until Winifred’s death in . glistening beaches and transparent sco of galleries national The Printmaker’s Art Their extraordinary lives haveDuring the threats, Winifred made- sea all the way across to Eriskay. regular working trips to Scotland, Blue mountains of Barra to the community and the timeless drama of ened to overshadow their art,often with but the poet, this Kathleen west – and the Cuillins far away Raine. They frequently stayed at snow covered to the south. the natural world. This book examines Sandaig on the west coast and in Winifred Nicholson writing to her son fully illustrated publicationthe Western brings Isles. This book,their based Andrew from South Uist in  on personal correspondence and the Eardley’s oeuvre and its place in the

work back to centre stage.recollections of relatives, friends tland and painting partners, examines international and British context. It NATIONAL GALLERIES OF SCOTLAND ISBN 1 903278 40 6 Winifred’s love of Scottish land- ISBN 978 1 906270 90 2 scape and her fascination with the includes paintings and drawings from quality of light created by the ever- changing weather conditions. 9 7 8 1 9 0 6 2 7 0 9 0 2 private collections and works from the collection of the Scottish National Gallery of Modern Art.

20 | NATIONAL GALLERIES OF SCOTLAND Popular | 21

Kaft Nicholson 1 04-05-2004, 13:43

     Elizabeth Blackadder Philip Long and John Leighton

265 X 245MM | 112PP 100 ILLUSTRATIONS 978 1 906270 3 91 | £14.95 PAPER

This extensively illustrated book is devoted to the art of Dame Elizabeth Blackadder, one of Scotland’s best loved painters. Blackadder’s art explores a diverse range of subjects through many mediums. The artist draws on experiences of foreign travel, as well as plant forms and animals closer to home, to produce highly original works that appear to breathe with their own life. Her deeply analytical eye allows her to Witches & Wicked Bodies From Death to Death and other see the underlying structure, design and colour harmony in both the exotic and the Deanna Petherbridge Small Tales: Masterpieces from the Scottish National everyday. This book tells the fascinating 220 X 245MM | 128PP story of her career, from her early days as 87 COLOUR ILLUSTRATIONS Gallery of Modern Art and the a student in Edinburgh, and her friend- The Scottish Colourists 978 1 906270 55 1 | £14.95 PAPER D.Daskalopoulos Collection ships with Scottish painters William NATIONAL GALLERIES OF SCOTLAND IN Philip Long and Elizabeth Cumming ASSOCIATION WITH THE BRITISH MUSEUM, Keith Hartley, Lucy Askew and Gillies, William MacTaggart and Anne X LONDON Richard Flood Redpath, to her very recent work. 257 310MM | 152PP 144 COLOUR ILLUSTRATIONS Witches & Wicked Bodies provides an inno- 265 X 215MM | 152PP 978 1 903278 0 48 | £14.95 HARDBACK vative, rich survey of images of European 100 COLOUR ILLUSTRATIONS F.C.B. Cadell, J.D. Ferguson, G.L. Hunter witchcraft, from the sixteenth century 978 1 906270 57 5 | £19.95 HARDBACK and S.J. Peploe are now amongst the most to the present day. It focuses on the This book brings together works from admired of early twentieth century British representation of women and the enduring one of the most important private artists. Their direct contact with French stereotypes they embody, ranging from collections of modern and contemporary Post-Impressionism and their early hideous old crones to beautiful young art, the D.Daskalopoulos Collection, with knowledge of the work of Matisse and the seductresses. Such imagery has ancient key pieces from the Scottish National Fauves encouraged them to produce some precedents and has been repeatedly re-in- Gallery of Modern Art. Providing a of the most progressive British paintings vented by artists over the centuries. new context for both collections, it of the early twentieth century. During their Deanna Petherbridge introduces this specifically focuses on the theme of the lifetime the Colourists developed an inter- fascinating subject and includes insightful body, investigating the many and varied national reputation, exhibiting in Paris, catalogue entries on each of the exhibited approaches that artists have taken London and New York as well as Scotland. works. A wide range of artists are repre- across several decades when dealing Since their deaths they have often been sented including Dürer, Cranach, Goya, with this most fundamental of subjects. overlooked in histories of British art, but Fuseli, Blake, Burra, Sherman and Rego. the last thirty years have seen a dramatic revival of interest in their work.

22 | NATIONAL GALLERIES OF SCOTLAND Popular | 23 THE WATSON GORDON LECTURE 2013 Watson Gordon Lecture Series ‘Studying Nature as a Hunter, a Savage’: Vincent van Gogh and Karl Bodmer Richard Kendall 215 X 165MM | 48PP | 2014 | 21 ILLUSTRATIONS 978 1 906270 83 4 | £7.95 HARDBACK

the watson lecture gordon New THE WATSON GORDON LECTURE 2011 WATSON GORDON LECTURE 2016 Faces in a Library: Sir Joshua Reynolds’s Caravaggio and Cupid: Homage and ‘Streatham Worthies’ Rivalry in Rome and Florence Mark Hallett

Helen Langdon 215 X 165MM | 48PP | 2012 | 19 ILLUSTRATIONS to rooms full of art back? – and · 2015 the watson gordon lecture 2015 robert storr · from the masterpieces the watson gordon lecture 2016 978 1 906270 56 8 | £7.95 HARDBACK From the Masterpieces to 215 X 165MM | 48PP | NOVEMBER 2017 Rooms Full of Art – and Back? Caravaggio and Cupid: Established following the 125th anniversary of the foundation 20 COLOUR ILLUSTRATIONS of the Chair of Fine Art at the University of Edinburgh and named Homage and Rivalry in Rome and Florence THE WATSON GORDON LECTURE 2010 after the painter Sir John Watson Gordon, the Watson Gordon Lectures typify the longstanding and positive collaboration 978 1 911054 14 6 | £7.95 HARDBACK between the University of Edinburgh and the National Galleries HELEN LANGDON ‘The Hardest Kind of Archetype’: of Scotland. This lecture was given by Professor Robert Storr, Dean of the Yale University School of Art. His bravura discourse Reflections on Roy Lichtenstein covered a wide panorama of issues in modern and contemporary Helen Langdon explores how Caravaggio, isbn 978 1 911054 01 6 art, touching on artistic practice, collecting and shifting patterns of reputation. Combining analysis and anecdote, specifics and famed for his originality, created a balance speculation, questioning the role of the museum, Robert Storr’s national galleries of scotland Hal Foster

9 7 8 1 9 1 1 0 5 4 0 1 6 lecture captivated his audience. & the university of edinburgh between a suggestion of his own world – a 215 X 165MM | 48PP | 2011 | 19 ILLUSTRATIONS 978 1 906270 38 4 | £7.95 HARDBACK national of scotland galleries world of lively and rowdy street life – and a

complex and ambiguous response to both THE WATSON GORDON LECTURE 2009 ancient and Renaissance art and litera- The Renaissance Image Unveiled: ture. Langdon also looks at the challenge From Madonna to Venus the painting threw out to contemporary Paul Hills painters, whose world was characterised by 215 X 165MM | 48PP | 2010 | 19 ILLUSTRATIONS extreme and bitter rivalries. 978 1 906270 34 6 | £7.95 HARDBACK Dr Helen Langdon is a writer, scholar Established in 2006 following the THE WATSON GORDON LECTURE 2008 and curator, and the former Assistant 125th anniversary of the foundation of Picasso’s ‘Toys for Adults’: Director of the British School at Rome. the Chair of Fine Art at the University Cubism as Surrealism of Edinburgh and named after the Neil Cox painter Sir John Watson Gordon, the Previously published 215 X 165MM | 48PP | 2009 | 20 ILLUSTRATIONS 978 1 906270 26 1 | £7.95 HARDBACK the watson gordon lecture 2013 Watson Gordon Lectures typify the ‘Studying Nature as a Hunter, a Savage’: THE WATSON GORDON LECTURE 2015 Vincent van Gogh and Karl Bodmer RICHARD KENDALL long-standing and positive collaboration From the Masterpieces to Rooms THE WATSON GORDON LECTURE 2007

national galleries of scotland between the University of Edinburgh Full of Art – and Back? Sound, Silence and Modernity in Dutch & the university of edinburgh and the National Galleries of Scotland: Robert Storr Pictures of Manners two partners in the Visual Arts Research 215 X 165MM | 48PP Mariët Westermann 20 COLOUR ILLUSTRATIONS Institute in Edinburgh. Each lecture 215 X 165MM | 32PP | 2008 | 17 ILLUSTRATIONS 978 1 911054 01 6 | £7.95 HARDBACK 978 1 906270 25 4 | £7.95 HARDBACK the watson lecture gordon

is by a leading scholar and reveals new the watson lecture gordon research on a focused topic. The lectures THE WATSON GORDON LECTURE 2014 THE WATSON GORDON LECTURE 2006 are delivered and published annually, Unfinished Paintings: Narratives

Roger Fry’s Journey: From the to rooms full of art back? – and · 2015 the watson gordon lecture 2015 robert storr · from the masterpieces to rooms full of art back? – and · 2015 of the Non Finito the watson gordon lecture 2015 robert storr · from the masterpieces the watson gordon lecture 2015 the watson gordon lecture 2016 with nine titles in the series and a tenth From the Masterpieces to From the Masterpieces to Primitives to the Post-ImpressionistsRooms Full of Art – and Back? RoomsFrom Full the of Art Masterpieces – and Back? to Caravaggio and Cupid: Established following the 125th anniversary of the foundation Established following the 125th anniversary of the foundation of the Chair of Fine Art at the University of Edinburgh and named of theRooms Chair of Fine Full Art at the of University Art – of Edinburghand Back? and named Homage and Rivalry in Rome and Florence David Bomford after the painter Sir John Watson Gordon, the Watson Gordon after the painter Sir John Watson Gordon, the Watson Gordon one scheduled for print in 2017. Lectures typify the longstanding and positive collaboration Lectures typify the longstanding and positive collaboration HELEN LANGDON between the University of Edinburgh and the National Galleries betweenROBERT the University STORR of Edinburgh and the National Galleries Caroline Elam of Scotland. This lecture was given by Professor Robert Storr, of Scotland. This lecture was given by Professor Robert Storr, X Dean of the Yale University School of Art. His bravura discourse Dean of the Yale University School of Art. His bravura discourse 215 165MM | 48PP covered a wide panorama of issues in modern and contemporary covered a wide panorama of issues in modern and contemporary isbn 978 1 911054 01 6 art, touching on artistic practice, collecting and shifting patterns isbn 978 1 911054 01 6 art, touching on artistic practice, collecting and shifting patterns of reputation. Combining analysis and anecdote, specifics and of reputation. Combining analysis and anecdote, specifics and 20 COLOUR ILLUSTRATIONS 215 X 165MM | 48PP | 2007 | 18 ILLUSTRATIONSspeculation, questioning the role of the museum, Robert Storr’s speculation,national questioning galleries the role ofof the scotland museum, Robert Storr’s national galleries of scotland

9 7 8 1 9 1 1 0 5 4 0 1 6 lecture captivated his audience. 9 7 8 1 9 1 1 0 5 4 0 1 6 lecture& the captivated university his audience. of edinburgh & the university of edinburgh national of scotland galleries 978 1 906270 91 9 | £7.95 HARDBACK 978 1 906270 11 7 | £7.95 HARDBACK national of scotland galleries

24 | NATIONAL GALLERIES OF SCOTLAND Scottish National Portrait Gallery Guide

Gallery Guides

Scottish National Portrait illustrated guide to the collection; it is an A Companion Guide to the A Companion Guide to Photography Gallery Guide important visual record of Scottish history Scottish National Gallery in the National Galleries of Scotland 235 X 165MM | 208PP and achievement. 245 X 165MM | 224PP 245 X 165MM | 224PP 185 COLOUR ILLUSTRATIONS 220 COLOUR ILLUSTRATIONS 220 COLOUR ILLUSTRATIONS 978 1 906270 65 0 | £9.99 PAPER A Companion Guide to the Scottish 978 1 903278 11 6 | £12.95 PAPER 978 1 906270 20 9 | £9.99 PAPER National Gallery of Modern Art Portraits have an immediate, visceral The Scottish National Gallery is widely Scotland has been the centre of the history 245 X 165MM | 224PP appeal as images that provide insights regarded as one of the finest small and development of photography since 250 COLOUR ILLUSTRATIONS into the lives and ambitions of people galleries in the world. Not only does it the 1840s. The Scottish National Portrait 978 0 903598 84 2 | £9.99 PAPER we are curious about: the great, the contain the most comprehensive collec- Gallery and the Scottish National Gallery good, the notorious and sometimes Founded in 1960, the Scottish National tion of Scottish masterpieces, but its of Modern Art hold outstanding collec- the unknown. The Scottish National Gallery of Modern Art in Edinburgh collection includes works by the greatest tions of photographic art spanning three Portrait Gallery houses an outstanding already boasts an outstanding collection names in Western art. This in-depth look centuries. This book offers a wide-ranging collection, which encompasses all of of modern and contemporary art. More at the collection provides readers with guide to the collection and is a useful these, and allows you to discover the than 230 of the finest paintings, sculptures, an engaging and informative account of introduction to the history of photography. figures that forged Scotland’s history. prints and drawings are illustrated here the history of art. It also provides an insight into devel- in colour, alongside descriptions of each opments in the overlapping spheres of work. The book offers a detailed guide to art, biography, fashion, patronage, fame the collection as well as an accessible and and celebrity. This book is more than an informative introduction to modern art.

26 | NATIONAL GALLERIES OF SCOTLAND Gallery Guides | 27 Children’s Publication Selected john byrne The Art of Golf

sitting ducks Michael Clarke and Kenneth McConkey Backlist Sitting Ducks 235 X 195MM | 72PP 60 COLOUR ILLUSTRATIONS 978 1 906270 6 74 | £12.95 PAPER

John Byrne: Sitting Ducks John Byrne, Gordon Brown and Julie Lawson 245 X 200MM | 64PP 35 COLOUR ILLUSTRATIONS 978 1 906270 8 27 | £12.95 PAPER American Impressionism: Boticelli to Braque: A New Vision 1880–1900 Masterpieces from the Katherine M Bourguignon, National Galleries of Frances Fowle and Richard Scotland Brettell Edited by Michael Clarke 295 X 245MM | 160PP 280 X 225MM | 136PP 120 COLOUR ILLUSTRATIONS 72 COLOUR ILLUSTRATIONS 978 0 300206 10 4 | £20 PAPER 978 1 906270 7 73 | £12.95 HARDBACK PUBLISHED BY THE NATIONAL GALLERIES OF SCOTLAND

GENERATION GUIDE AND HAZAN, FRANCE. TRADE An Art Adventure around the ENQUIRIES YALE UNIVERSITY GENERATION is a major nationwide PRESS exhibition programme showcasing some National Galleries of Scotland of the best and most significant art to have emerged from Scotland over the last twenty-five years. Contemporary art in Scotland has changed considerably over that time and GENERATION highlights Eilidh Muldoon some of the artists and works that have contributed significantly to the country’s growing reputation as an international centre of excellence for the visual arts. During the summer of 2014, the work of 230 X 230MM | 34PP over 100 artists, including key artworks of the period and new commissions, will be exhibited in over sixty venues BLACK AND WHITE LINE DRAWINGS throughout Scotland. This book provides a fully illustrated guide to the GENERATION programme, with entries on the work of 978 1 906270 92 6 | £7.95 HARDBACK more than eighty artists and information about group exhibitions and other projects. It forms the first comprehensive This beautiful colouring and drawing book overview of the art of the period. ISBN 978 1 906270 71 1

National Galleries of Scotland takes us on a journey through Edinburgh, and Glasgow Life 9 7 8 1 9 0 6 2 7 0 7 1 1 GUIDE visiting each of the three National Galleries of Scotland. Intricately illustrated and GENERATION: 25 Years decorative, there are drawings to complete, of Contemporary Art in colour and embellish, and paintings and Scotland sculptures from the national collection to Edited by Moira Jeffrey Another World: Dalí, Magritte, Miró and the be discovered! Enjoyable for all ages. 220 X 160MM 95 COLOUR ILLUSTRATIONS Surrealists Eilidh Muldoon (Muldoodles) is an 978 1 906270 7 11 GUIDE | 220PP Patrick Elliott Edinburgh-based illustrator and designer. £4.95 PAPER X Much of her work is inspired by the iconic 978 1 906270 7 28 READER | 168PP 245 165MM | 176PP GUIDE AND READER IN SLIPCASE 160 ILLUSTRATIONS buildings in the city. £14.95 PAPER 978 1 906270 30 8 | £12.95 PAPER

28 | NATIONAL GALLERIES OF SCOTLAND Selected Backlist | 29 240 X 295MM | 236PP

TIN BAILEY · NA O D N A L COT S F O S E I R E L L A G L A N O I AT N · Y E L T I I A R B B N D I N RT A A M H G O G N VA Rough Cut Nation 180 COLOUR ILLUSTRATIONS 978 1 906270 46 9 | £29.95 Richie Cumming HARDBACK S R TO C E L L CO R E E N O I P · N I A 210 X 210MM | 40PP

VAN GOGH AND BRITAIN 50 COLOUR ILLUSTRATIONS The Face of Scotland: PIONEER COLLECTORS 978 1 906270 47 6 | £9.95 PAPER

MasterpiecesVAN GOGH AND BRITAINfromPIONEER the COLLECTORS

Vincent van Gogh has become one of the best known and best loved artists in the history of art, but he is said to have sold only a single painting in his entire life. An extraordinary Scottish Nationalﬁgure, whose art and life were inextricably and tragically intertwined, he is seen by many as the archetypal misunderstood, tormented genius. Astonishingly, he was only active as an artist for some ten years during which time his style changed dramatically. In his own day, he remained relatively unacknowledged outside a small circle of admirers, his cause Portrait Gallerynot helped by his difﬁcult and unpredictable character.

NATIONAL GALLERIES This book examines the fascinating story of how Van Gogh’s work gradually came to be OF SCOTLAND appreciated and collected in Britain – a country in which he lived, albeit unhappily, from ISBN 1 903278 77 5 1873 to 1875, whose language he spoke and wrote ﬂuently, and whose literature he greatly admired. In focusing on this early taste for the artist, the book uncovers important new, James Hollowayand unpublished, research on the early collectors and on the British interest in Van Gogh. 167 X 245MM | 48PP 42 COLOUR ILLUSTRATIONS A History of the Scottish S.J. Peploe Alan Davie: Work in the 978 1 906270 23 0 | £7.95 PAPER Van Gogh and Britain: Scottish National Gallery of Pioneer Collectors National Portrait Gallery Alice Strang, Elizabeth Modern Art Martin Bailey with an essay by Duncan Thomson Cumming and Frances Fowle Patrick Elliott Frances Fowle 250 X 195MM | 176PP with a preface by Guy Peploe A Shepherd’s Life: 142 ILLUSTRATIONS 300 X 245MM | 104PP 265 X 245MM | 112PP 265 X 245 | 144PP 978 1 906270 48 3 | £19.95 HARDBACK Paintings of Jenny 70 COLOUR ILLUSTRATIONS 88 COLOUR ILLUSTRATIONS 62 COLOUR ILLUSTRATIONS Armstrong by 978 1 903278 13 0 | £14.95 PAPER 978 1 906270 51 3 | £14.95 PAPER 1 903278 77 5 | £14.95 PAPER Impressionism & Scotland Victoria Crowe

IN ASSOCIATION WITH COMPTON PICASSO VERNEY, WARWICKSHIRE Frances Fowle, with contribu- Julie Lawson and Mary tions by Vivien Hamilton and Taubman Jennifer Melville 195 X 175MM | 62PP

265 X 245MM | 160PP PAPER ON 25 COLOUR ILLUSTRATIONS 178 ILLUSTRATIONS 1 903278 02 3 | £9.95 HARDBACK 978 1 906270 07 0 | £14.95 PAPER IN ASSOCIATION WITH CULTURE & Phoebe Anna Traquair Facing the Light: SPORT, GLASGOW The Photography of Hill 1 Elizabeth Cumming Monet and French & Adamson 240 X 165MM | 96PP Landscape: Vétheuil and Picasso on Paper 61 COLOUR ILLUSTRATIONS Sara Stevenson Normandy 1 903278 65 1 | £12.95 PAPER Patrick Elliott English Drawings & 210 X 165MM | 128PP Edited by Frances Fowle 220 X 245MM | 144PP Watercolours 1600–1900 70 COLOUR ILLUSTRATIONS X 92 COLOUR ILLUSTRATIONS 245 165MM | 176PP BENJAMIN 1 903278 32 5 | £9.95 PAPER WEST AND Christopher Baker 47 ILLUSTRATIONS (31 COLOUR) 978 1 903278 87 1 | £14.95 PAPER THE DEATH OF A STAG the story behind 978 1 903278 91 0 | £35 HARDBACK the painting and 295 X 245MM | 464PP its conservation 450 COLOUR ILLUSTRATIONS Van Gogh’s Twin: Portrait of the Nation: 978 1 906270 35 3 | SPECIAL PRICE An Introduction to the 1 The Scottish Art Dealer THE NAKED PORTRAIT £20 HARDBACK Scottish National Portrait Alexander Reid 1854–1928 1 Gallery Frances Fowle James Holloway et al. 250 X 195MM | 180PP X 92 ILLUSTRATIONS 245 220MM | 96PP 110 ILLUSTRATIONS 978 1 906270 29 2 | £19.95 HARDBACK 978 1 906270 37 7 | £6.95 PAPER Benjamin West & The Douglas Gordon: Poussin to Seurat: Death of the Stag: The Superhumanatural The Naked Portrait 1900 French Drawings from Story Behind the Painting Gauguin’s Vision to 2007 the National Gallery of Expanding Horizons: Keith Hartley, Holger Broeker, and its Conservation Martin Hammer Scotland Belinda Thomson with Frances Jaroslav Anděl, Ian Rankin and Timothy Clifford, Michael Giovanni Battista Lusieri X Fowle and Lesley Stevenson Michael Fried 265 245MM | 152PP Michael Clarke Gallagher and Helen Smailes and the Panoramic 150 COLOUR ILLUSTRATIONS Landscape 265 X 250MM | 144PP 300 X 165MM | 144PP 978 1 903278 95 6 | £19.95 PAPER 300 X 240MM | 136PP 244 X 210MM | 32PP 140 COLOUR ILLUSTRATIONS 75 COLOUR ILLUSTRATIONS IN ASSOCIATION WITH COMPTON 95 ILLUSTRATIONS 28 ILLUSTRATIONS Aidan Weston-Lewis et al. 1 903278 68 6 | £9.95 PAPER 1 903278 85 6 | £12.95 PAPER VERNEY, WARWICKSHIRE 978 1 906270 31 5 | £14.95 PAPER 978 1 906270 12 4 | £7.95 PAPER

30 | NATIONAL GALLERIES OF SCOTLAND Selected Backlist | 31 National Galleries of Scotland Publishing Bridge Lodge 70 Belford Road Edinburgh EH4 3DE Scotland Telephone: +44 (0)131 624 6269 Fax: +44 (0)131 623 7135 Email: [email protected]

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Front cover: William McCance Portrait of Joseph Brewer, 1925 (detail) Oil on canvas, 84.8 x 69.6cm Scottish National Gallery of Modern Art © Margaret McCance