1 Ex E M Pt Sir Henry Raeburn, R.A. PORTRAIT of SIR WILLIAM
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Scottish Art: Then and Now
Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Scotland – North
Scotland – North Scotland was at the heart of Jacobitism. All four Jacobite risings - in 1689-91, 1715-16, 1719 and 1745-46 - took place either entirely (the first and third) or largely (the second and fourth) in Scotland. The north of Scotland was particularly important in the story of the risings. Two of them (in 1689-91 and 1719) took place entirely in the north of Scotland. The other two (in 1715-16 and 1745-46) began and ended in the north of Scotland, although both had wider theatres during the middle stages of the risings. The Jacobite movement in Scotland managed to attract a wide range of support, which is why more than one of the risings came close to succeeding. This support included Lowlanders as well as Highlanders, Episcopalians as well as Catholics (not to mention some Presbyterians and others), women as well as men, and an array of social groups and ages. This Scotland-North section has many Jacobite highlights. These include outstanding Jacobite collections in private houses such as Blair Castle, Scone Palace and Glamis Castle; state-owned houses with Jacobite links, such as Drum Castle and Corgarff Castle; and museums and exhibitions such as the West Highland Museum and the Culloden Visitor Centre. They also include places which played a vital role in Jacobite history, such as Glenfinnan, and the loyal Jacobite ports of the north-east, and battlefields (six of the land battles fought during the risings are in this section, together with several other skirmishes on land and sea). The decision has been made here to divide the Scottish sections into Scotland – South and Scotland – North, rather than the more traditional Highlands and Lowlands. -
Raeburn, Life and Art
RAEBURN, LIFE AND ART VOLUME VI Plate Numbers 60~12i Plate 60. David Hunter of Blackness. Catalogue no. 414. Plate 61 . Mrs Margaret Hunter of Burnside. Catalogue no. 416. Plate 62. Sir Patrick Inglis, 5th Bt. of Cramond. Catalogue no. 423. Plate 63. S i.r Patrick Inglis, 5th Bt. of Cramond. Catalogue no. 423b. Plate 64. William Ing.lis. Catalogue no. 424. Plate 65. Lucv Johnston, later Mrs Oswald of Auchincruive. Catalogue no. 435. Plate 66. John Johnstone of Alva with his Sister, Dame Betty and his Niece. Miss Wedderburn. Catalogue no. 437. Plate 67. John Lamont of Lamont. Catalogue no. 4 5 5 . Plate 68. Jacobina Leslie. Catalogue no. 464. Plate 69. Mrs John Liddell, Catalogue no. 465. Plate 70. Dr Alexander Lindsay of Pinkieburn. A photograph of the painting before being cut into two fragments. Catalogue no. 466. Plate 71. Peter Van Brugh Livingston. Catalogue no. 469. Plate 72. Pe ter Van Br ugh Livingston. Catalogue no. 469b. Plate 73. Coronet George Lvon. Catalogue no. 474. Plate 74. Lieutenant-General Hay MacDowall. Catalogue no. 484(2) Plate 75. Captain George Makgill of Kemback and Fjngask, de ~iure 7th Bt. Catalogue no. '*87. Plate 76. Lady Katherine Mackenzie of Coul. Catalogue no. 499. Plate 77. Si r George Steuart Mackenzie Bt., as a Bov. Catalogue no. 500. Plate 78. Henry Mackenzie. Catalogue no. 501. Plate 79. Francis MacNab. 12th Laird of HacNab. Catalogue no. 513. Plate 80. Roderick MacNeill of Barra. Catalogue no. 514. Plate 81 . A llari Maconochie. 1st Lord Meadowbank. Catalogue no. 516. Plate 82. Sir Willaim Maxwell of Calderwood. -
The Phillipsonian Enlightenment
The Phillipsonian Enlightenment Colin Kidd A founding Editor of Modern Intellectual History [MIH], an acclaimed biographer of Adam Smith and a prolific essayist on all aspects of the Scottish Enlightenment, from its origins to its aftermath, Nicholas Phillipson needs little introduction to the readers of this journal. However, Phillipson’s recent retirement from his editorial duties on MIH provides a suitable moment to celebrate one of the pioneers in our field. When the current Editors set out to commission an historiographical overview of Phillipson’s oeuvre and career, I was honoured to be asked and delighted to accept. Phillipson did not coin the term ‘Scottish Enlightenment’, nor was he involved in its controverted recoinage in the 1960s; nevertheless nobody did more to give it a wider currency, both in Europe and North America. The term’s original begetter in 1900 was the Scottish economist and historian, W.R. Scott,1 but at this stage it failed to catch on. It was rescued from oblivion – independently, it seems – by two antagonistic scholars, Duncan Forbes of Cambridge,2 who ran an influential Special Subject at that university on ‘Hume, Smith and the Scottish Enlightenment’, and by Hugh Trevor-Roper of Oxford, who gave a paper entitled ‘The Scottish Enlightenment’ to the International Congress of the Enlightenment in 1967.3 Yet it was Phillipson - educated largely at Cambridge, where he took Forbes’s Special Subject,4 but closer, perhaps, to Trevor-Roper in cavalier esprit – who, in a series of innovative and richly erudite pieces, not only popularised the Scottish Enlightenment as a fashionable field of academic study, but also mapped its parameters and established its central preoccupations, lines of interpretation and matters of debate. -
Raeburn : English School
NOVEMBER, 1905 RAEBURN PRICE, 15 CENTS anxa 84-B 5530 Jjpueiniipntljlu. RAEBURN J3atK^anO*<iuU&C[ompany, Xtybligfjerg 42<H)auncji^treEt MASTERS IN ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 71 NOVEMBER, 1905 VOLUME 6 a 1 1 u t* 1X CONTENTS Plate I. Portrait of Mrs. Strachan Worcester Art Museum, Worcester, Mass. Plate II. Portrait of Lord Newton National Gallery of Scotland, Edinburgh Plate III. Mrs. Ferguson and Children Owned by R. C. Munroe-Ferguson, Esq. Plate IV. Portrait of Sir Walter Scott Collection of the Earl of Home Plate V. Portrait of Sir John Sinclair Owned by Sir Tollemache Sinclair Plate VI. Portrait of Mrs. Campbell of Balliemore National Gallery of Scotland, Edinburgh Plate VII. Portrait of John Wauchope National Gallery of Scotland, Edinburgh Plate VIII. Portrait of Mrs. Scott-Moncrieff National Gallery of Scotland, Edinburgh Plate IX. Portrait of James Wardrop of Torbanehill Owned by Mrs. Shirley Plate X. The Macnab Owned by Hon. Mrs. Baillie Hamilton Portrait of Raeburn by Himself : Owned by Lord Tweedmouth Page 22 The Life of Raeburn Page 23 ’ Abridged from Edward Pinnington's ‘ Sir Henry Raeburn The Art of Raeburn Page 30 Criticisms by Armstrong, Pinnington, Brown, Van Dyke, Cole, Muther, Stevenson The Works of Raeburn : Descriptions of the Plates and a List of Paintings Page 36 Raeburn Bibliography Page 42 Photo-angravings by C. J. Ptttrs Son: Boston. Prass-work by tht Evantt Prass : Boston complata pravious ba ba consultad library A indax for numbars will found in tba Rtadar's Guida to Pariodical Litaratura , which may in any PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the 1905 volume, $1.50, payable in advance, postpaid to any address in the United States or Canada. -
From the Library of Cosmo Alexander Gordon
FROM THE LIBRARY OF COSMO ALEXANDER GORDON Lucretius De Rerum Natura 1-27 Sixteenth century 28-33 Seventeenth century 34-53 Eighteenth century 54-79 Nineteenth century 80-90 Twentieth century 91-92 BERNARD QUARITCH LTD List 2015/3 [email protected] +44 (0)20 7297 4888 Introduction by Nicolas Barker ‘Cosmo and I found our tastes and interests were always in harmony and I came to love his particular sense of humour and gentle goodness, as well as to respect his unusual style of scholarship and general culture.’ So wrote his life-long friend, Geoffrey Keynes in The Gates of Memory. All those who knew him shared the same feeling of calm and contentment, leavened by humour, in his company. Something of this radiates from this residue of a collection of books, never large but put together with a discrimination, a sense of the sum of all the properties of any book, that give it a special quality. Cosmo Alexander Gordon was born on 23 June 1886, the son of Arthur and Caroline Gordon of Ellon, Aberdeen. Ellon Castle was a modest late medieval building, with eighteenth-century additions and yew avenue, the river Ythan running by, where Cosmo fished for salmon and sea-trout. Dr Johnson stayed there in 1773 and admired the local antiquities. So did Cosmo; his taste had extended to medieval manuscripts before he left Rugby for King’s in 1904, where it was nurtured by M. R. James. Although Keynes had also been at Rugby, they did not meet until both were at Cambridge, where Gordon introduced his new friend to David’s book-stall and seventeenth-century literature; they shared a passion for Browne and Fuller. -
Annual Review 2017–18 National Galleries of Scotland Annual Review
Annual Review 2017–18 national galleries of scotland annual review annual of scotland galleries national 2017–18 www.nationalgalleries.org froNt cover reverse Back cover reverse Facts and Figures visitor nuMBers NatioNal Galleries of s cotlaNd Board of t rustees Total visitors to National Galleries of 2,533,611 Benny Higgins Chairman Scotland sites in Edinburgh Tricia Bey Alistair Dodds 1,601,433 Scottish National Gallery Edward Green Lesley Knox 562,420 Scottish National Gallery of Modern Art Tari Lang Catherine Muirden Professor Nicholas Pearce Scottish National Portrait Gallery 369,758 Willie Watt Nicky Wilson virtual v isitors seNior MaNaGeMeN t t eaM www.nationalgalleries.org website visits 1,989,101 Sir John Leighton Director-General educational v isits Chris Breward 33,210 Total number of participants from schools, Director of Collection and Research higher and further education Nicola Catterall Chief Operating Officer 19,479 Total number of adult participants at talks, Jo Coomber lectures and practical workshops Director of Public Engagement Jacqueline Ridge 4,333 Total number of community and Director of Conservation and Collections Management outreach participants Elaine Anderson 6,919 Total number of families with children at Head of Planning and Performance drop-in events fiNaNce friends Full Annual Accounts for 2017–18 are available on the National Galleries of Scotland website: 13,188 Friends at 31 March 2018 www.nationalgalleries.org volunteers froNt cover The Road Through the Rocks, Total number of volunteers Detail from Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery 166 Port-Vendres, 1926–27 by Charles of Modern Art One Rennie Mackintosh The Scottish National Gallery comprises The Scottish National Portrait Gallery is Back cover three linked buildings at the foot of the about the people of Scotland – past and Home to Scotland’s outstanding national The Road Through the Rocks, Port-Vendres, Mound in Edinburgh. -
Three Centuries of British Art
Three Centuries of British Art Three Centuries of British Art Friday 30th September – Saturday 22nd October 2011 Shepherd & Derom Galleries in association with Nicholas Bagshawe Fine Art, London Campbell Wilson, Aberdeenshire, Scotland Moore-Gwyn Fine Art, London EIGHTEENTH CENTURY cat. 1 Francis Wheatley, ra (1747–1801) Going Milking Oil on Canvas; 14 × 12 inches Francis Wheatley was born in Covent Garden in London in 1747. His artistic training took place first at Shipley’s drawing classes and then at the newly formed Royal Academy Schools. He was a gifted draughtsman and won a number of prizes as a young man from the Society of Artists. His early work consists mainly of portraits and conversation pieces. These recall the work of Johann Zoffany (1733–1810) and Benjamin Wilson (1721–1788), under whom he is thought to have studied. John Hamilton Mortimer (1740–1779), his friend and occasional collaborator, was also a considerable influence on him in his early years. Despite some success at the outset, Wheatley’s fortunes began to suffer due to an excessively extravagant life-style and in 1779 he travelled to Ireland, mainly to escape his creditors. There he survived by painting portraits and local scenes for patrons and by 1784 was back in England. On his return his painting changed direction and he began to produce a type of painting best described as sentimental genre, whose guiding influence was the work of the French artist Jean-Baptiste Greuze (1725–1805). Wheatley’s new work in this style began to attract considerable notice and in the 1790’s he embarked upon his famous series of The Cries of London – scenes of street vendors selling their wares in the capital. -
Historical Notices of St. Anthony's Monastery
la^A^' HISTORICAL NOTICES ST, ANTHONY'S MONASTERY, LEITH REHEARSAL OF EVENTS Which occurred in the North of Scotland from 1635 to 1645 in relation to the National Covenant. Edited from A Contemporary MS. REV. CHARLES ROGERS LL.D Historiographer to the Royal Historical Society ; Fellow of the Society of Antiquaries ofScotland ; Fellow ofthe Royal Society ofNorthern Antiquaries, Copenhagen ; Member of the Historical Society of Pennsylvania ; Member of the Historical Society of Quebec ; and Corresponding Member of the Historical and Genealogical Society of New England. LONDON PRINTED FOR THE GRAMPIAN CLUB 1877 fiiSTORicAL Notices, Sjc, The patriarch of monks, St. Anthony, is one of the most notable saints in the Romish calendar. He was born A.D. 251, at Coma, or Great Heracleopolis, in Upper Egypt. His parents, who were Christians, kept him at home, fearing that through bad example his manners might be tainted. When he was under twenty his parents died, leaving him and an only sister, as their inheritance, an estate, in extent equal to a hundred and twenty British acres.* Imperfectly instructed in sacred knowledge, Anthony was influenced by a strong religious enthusiasm. Inducing his sister to concur with him, he disposed of their inheritance, in the belief that he was thereby fulfilling the divine command. The money which he received for his land he distributed among the poor, and adopted the life of an ascetic. He did not eat before sunset, and often fasted for two and three days together. He subsisted on bread; salt and water, abstained from washing his body, and clothed himself in a coarse shirt of hair. -
Historic Memorials & Reminiscences of Stockbridge
Historic Memorials & Reminiscences of Stockbridge THE DEAN, AND WATER OF LEITH WITH NOTICES ANECDOTAL, DESCRIPTIVE, AND BIOGRAPHICAL. BY CUMBERLAND HILL, CHAPLAIN TO THE COMBINATION WORKHOUSE OF ST CUTHBERT's AND CANONGATE, EDINBURGH. ILLUSTRATED WITH SIX FULL-PAGE DRAWINGS. SECOND EDITION, ENLARGED. EDINBURGH: ROBERT SOMERVILLE, 10 SPRING GARDENS. RICHARD CAMERON, i ST DAVID STREET. 1887. <?W(fi1 5 ' •*- ' i i IC Lin TY university ui uullph PKEFACE TO THE FIEST EDITION. The substance of the following pages was delivered first as a lecture at the opening of the Working Men's Institute, Stockbridge, in March 1866. It was after- wards re-delivered, with additional notes, as two lectures, in Dean Street United Presbyterian Church, on the evenings of the 24th and 26th January 1871. At the close of the last lecture, I was requested to publish what I had delivered. Circumstances have prevented me from complying with this request until now. In the interval I have been enabled to add a good deal of curious matter connected with the locality that did not appear in any of the lectures. It will be remembered that I speak of the Stockbridge of the past more than of the present. In the course of the narrative I have mentioned the sources from whence the most material parts of my information have been derived. I may add that the subject is by no means exhausted. ;; IV ntEFACE. In most cases the source of my information has been acknowledged, but I have specially to mention the following works : —Ballantine's Life of David Roberts Cunningham's Lives of the British Painters. -
The Transparent Influence of the Scottish School of Art on Erskine
Études écossaises 16 | 2013 Ré-écrire l’Écosse : histoire A Scottish Art and Heart: The Transparent Influence of the Scottish School of Art on Erskine Nicol’s Depictions of Ireland Peinture et parenté écossaises : l’influence transparente de l’école écossaise sur les tableaux irlandais d’Erskine Nicol Amélie Dochy Electronic version URL: http://journals.openedition.org/etudesecossaises/837 DOI: 10.4000/etudesecossaises.837 ISSN: 1969-6337 Publisher UGA Éditions/Université Grenoble Alpes Printed version Date of publication: 15 April 2013 Number of pages: 119-140 ISBN: 978-2-84310-246-2 ISSN: 1240-1439 Electronic reference Amélie Dochy, “A Scottish Art and Heart: The Transparent Influence of the Scottish School of Art on Erskine Nicol’s Depictions of Ireland”, Études écossaises [Online], 16 | 2013, Online since 15 April 2014, connection on 15 March 2021. URL: http://journals.openedition.org/etudesecossaises/837 ; DOI: https://doi.org/10.4000/etudesecossaises.837 © Études écossaises Amélie Dochy Université Toulouse 2 A Scottish Art and Heart: The Transparent Influence of the Scottish School of Art on Erskine Nicol’s Depictions of Ireland “The Arts, unlike the exact sciences, are coloured by the temperaments, beliefs, and outward environment of the peoples amongst whom they flourish.” William D. mCKay, The Scottish School of Painting, 1906, p. 3. Erskine Nicol (3 July 1825–8 March 1904) was a Scottish painter who lived in Dublin between 1845 and 1850. When he went back to Scotland, his paintings attracted the attention of the British public for their fine quality, lively colours and the scenes taken from everyday life, so that by the 1850s, Nicol was already famous and was celebrated by art critics as the painter of Ireland.