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Home , Aberdeen Art Gallery, Alexander Stoddart, ARTIST ROOMS, Jacopo Bassano, The Death of Actaeon

Annual Review 2013–2014 The National Galleries of cares for, develops, researches and displays the national collection of Scottish

© Keith Hunter Photography © Andrew Lee © Keith Hunter Photography and international fine art and, Scottish Scottish National Portrait Gallery Scottish National Gallery with a lively and innovative The Scottish National Gallery comprises The Scottish National Portrait Gallery of One three linked buildings at the foot of is about the people of Scotland – past Home to Scotland’s outstanding national programme of exhibitions, the Mound in . The Gallery and present, famous or forgotten. The collection of modern and contemporary education and publications, houses the national collection of fine portraits are windows into their lives art, the Scottish National Gallery of art from the early Renaissance to the and the displays throughout the beautiful Modern Art comprises two buildings, aims to engage, inform end of the nineteenth century, including Arts and Crafts building help explain Modern One and . The early the national collection of how the men and women of earlier times part of the collection features French and inspire the broadest from around 1600 to 1900. The Gallery made Scotland the country it is today. and Russian art from the beginning of possible public. is joined to the Photography and film also form part of the twentieth century, cubist paintings building via the underground Weston the collection and help to make Scotland’s and superb holdings of Expressionist and Link, which contains a restaurant, café, colourful history come alive. modern British art. The Gallery also has cloakroom, shop, IT gallery and infor- an outstanding collection of international mation desk. The Academy building, post-war work and the most important which was reopened in 2003 following and extensive collection of modern refurbishment, is a world-class venue for Scottish art. special temporary exhibitions. National Galleries of Scotland Annual Review 2013–2014

3 Foreword

5 A World-Class Programme

8 ARTIST ROOMS

11 Highlights

© National Galleries of Scotland © National Galleries of Scotland © National Galleries of Scotland 15 Researching and Caring for our Collections

Scottish National Gallery Paxton House 21 Learning Opportunities for All of Modern Art Two Duff House in Banff is one of our partner Paxton House in Berwickshire is another Modern Two is home to a changing galleries, and displays a number of objects partner gallery which displays works 26 Partnership programme of world-class exhibitions, from the National Galleries of Scotland’s from the National Galleries of Scotland’s 31 Building Great Collections and displays from the Gallery’s world- permanent collection. It is a treasure permanent collection. Built to the design famous Surrealist collection. It also house and cultural arts centre with a of John Adam in 1758 by Patrick Home 39 Supporters houses a fascinating re-creation of stunning permanent collection operated of Billie for his intended bride, Sophie de Eduardo Paolozzi’s studio. On display by a unique partnership of the National Bandt, Paxton House is one of the finest 41 Facts and Figures is The Stairwell Project, a large-scale, Galleries of Scotland, Historic Scotland neo-Palladian country houses in Scotland. permanent work by 2009 Turner and Aberdeenshire Council. Prize winner Richard Wright. Modern Two is also home to the Gallery’s Front and back cover library and archive, open to the public Detail from 10am is when you come to me, 2006 by appointment. by © The Easton Foundation/VAGA, New York/DACS, London 2014 The National Galleries of Scotland looks after one of the world’s finest collections of Western art ranging from the Middle Ages to the present day. These holdings include the national collection of Scottish art which we are proud to display in an international context.

Foreword

Welcome to this review of the National Galleries of Scotland This review offers many glimpses of our approach to (NGS) for the period from April 2013 to March 2014. We are collective working; this ranges from lending objects from proud to be able to share some of the highlights of another our collection across Scotland and the rest of the world to successful year for the Galleries. We are also pleased to set out joint acquisitions, educational activities and various forms of in these pages some of our exciting plans for the future as we sharing expertise; it includes the ARTIST ROOMS progamme work to ensure that NGS develops its position as a world-class and we note with pride that more than twenty-nine million resource for the appreciation and promotion of Scottish and people have visited ARTIST ROOMS exhibitions at sixty-six international art. venues across the UK since 2009. At the time of writing, NGS is involved in the most ambitious This is a momentous year for Scotland as crucial decisions exhibition project in its history. GENERATION is a celebration are made about the future of our country. However, whatever of contemporary art in Scotland that extends over sixty venues happens in the political arena in the coming months and years, and includes more than 100 artists who have contributed to it is clear that art and culture will continue to play a critical the vibrancy of artistic life in this country during the past role in the education and well-being of the present and future twenty-five years. This ground-breaking project, which was con- generations. We hope that you enjoy reading about our recent ceived by NGS together with Glasgow Life and Creative Scotland, work and our forthcoming plans. We would like to thank our has involved working with a vast array of organisations and many sponsors, patrons and donors for all they do to support bodies across the entire country. It is, however, just one example our work. We acknowledge with gratitude the enthusiastic of the prominent role that partnership plays in our activities. support of our main sponsor, the Scottish Government, and We believe that working collaboratively across the public and in particular the Cabinet Secretary for Culture and External private sectors is a crucial way to maximise the benefit and value Affairs, Fiona Hyslop, and her team. We pay tribute also to of what we do. In a world of increasingly fluid boundaries and the hard work and dedication of our staff and Trustees.NGS is ever-scarcer resources, collaborative working has never been fortunate to enjoy amazing support from our volunteers, our so important. In our vision, NGS is part of an open network of Friends, our Patrons and their Governors and our American museums, galleries and other cultural organisations working Patrons. Thank you for your interest and we look forward to together to reach new publics and to promote greater awareness welcoming you to the Galleries or to one of our partnership and understanding of art. activities in 2015.

Ben Thomson Sir John Leighton Chairman Director-General

Opposite Detail from Flower Still Life with Bird’s Nest, c.1718 by Jan van Huysum 3 Our public programme Opposite Conscious and Unconscious, 2008 by Louise Bourgeois, installed at combines the display of the Scottish National Gallery of Modern the permanent collection Art. Lent on behalf of the Artist Rooms Foundation. © The Easton Foundation/ with a series of temporary VAGA, New York/DACS, London 2014 exhibitions and displays, alongside a dynamic programme of education activities and events.

A World-Class Programme

SCOTTISH NATIONAL GALLERY Through American Eyes: Frederic Church and the Landscape Oil Sketch Peter Doig: No Foreign Lands 1 April to 30 September 2013 3 August to 3 November 2013 Supported by the Terra Foundation for Peter Doig is one of the best known American Art artists working in the world today. Over Organised by The National Gallery, a career of nearly three decades, Doig has London, in partnership with and through major support from the Terra Foundation reinvigorated the medium of painting. for American Art. His inventive style, sensuous palette and Additional support from The Olana suggestive imagery set him apart from Partnership and generous loans from the conceptualism dominating much Olana and Cooper-Hewitt, National Design of contemporary art. A willingness to Museum, Smithsonian Institution. take up the challenge still posed by the paintings of Gauguin, Matisse, Bonnard This highly focused exhibition concen- and Edward Hopper places him in a long trated on the exquisite oil sketches of the line of great colourists and creators of American landscape painter Frederic richly textured worlds. This popular Edwin Church (1826–1900), an artist Pelican (Stag), 2003 by Peter Doig. © the artist show, Doig’s first major exhibition in the represented in the Gallery by one of his country of his birth, showcased works greatest masterpieces, the large and created during the past ten years, much of thrilling painting Niagara Falls, from the American Side, 1867. This had been which time the artist spent in Trinidad. presented to Scotland in 1887 by John Often tropical in their subject matter, S. Kennedy, a Lanarkshire-born entre- these are paintings of intense colour on a preneur who had amassed a substantial monumental scale. Following Edinburgh, fortune in iron and coal. Generously the exhibition travelled to Montreal supported by the Terra Foundation, the Museum of Fine Art where it was seen by exhibition was first shown at the National almost 100,000 visitors. Gallery, London, before transferring to Edinburgh, where it was seen by an estimated 100,000 visitors. Twenty-eight oil-sketches were included, ranging in subject-matter from Church’s native New England to his intrepid views of icebergs in the Arctic, his travels in the Caribbean, Europe and the Near East.

4 5 works by artists of international renown, for Fergusson’s work, before his death in such as Albrecht Dürer, Salvator Rosa, Glasgow in 1961. William Blake, Henry Fuseli and Cindy The exhibition included more than 100 Sherman, as well as a group of very rare, paintings, , works on paper and early printed books. The exhibition was items of archival material, lent from public organised in partnership with the British and private collections throughout the UK. Museum, London, which lent thirty-eight works to the show. An enlightening display ARTIST ROOMS: Louise Bourgeois, highlighting the Surrealists’ fascination A Woman Without Secrets with the occult, presented within the 26 October 2013 to 18 May 2014 Keiller Library, was a fitting complement ARTIST ROOMS: to the exhibition upstairs. This major presentation of works by the Louise Bourgeois great French-American artist Louise A Woman Witches & Wicked Bodies was Without Secrets Bourgeois (1911–2010) was the first showing accompanied by a high-profile events 26 October 2013 – 18 May 2014 Modern One, Belford Road, Edinburgh programme. This included a well-­ of an outstanding collection of sculptures, Free admission attended lecture series, featuring Lyndal works on paper and fabric pieces by the Roper, Regius Professor of History at artist assembled for the national ARTIST

Louise Bourgeois, COUPLE I, 1996, Fabric, hanging piece, 203.2 x 68.6 x 71.1cm ROOMS collection and touring programme. ARTIST ROOMS National Galleries of Scotland and Tate. Lent by the Artist Rooms Foundation 2013 Photo: Christopher Burke, © The Easton Foundation/Licensed by DACS the University of Oxford, and cultural National Galleries of Scotland is a charity registered in Scotland (No. SC003728) Focusing on Bourgeois’s late work, the

historian, critic and writer Professor NGS339 Borgeois Poster A0_1189x841mm.indd 1 07/10/2013 17:33 Marina Warner, among others. Halloween ­exhibition revealed how the artist employed Couple I, 1996 by Louise Bourgeois, ARTIST ROOMS National Solarised Portrait of Lee Miller, c.1929 by Man Ray © Man Ray Jack Milroy (1915–2001) and Rikki Fulton (1924–2004) as Francie a wide variety of materials to explore Galleries of Scotland and Tate. Lent by the Artist Rooms Trust/ADAGP, Paris and DACS, London 2012, courtesy The Penrose and Josie, 1990 by June Crisfield Chapman. © The King’s Theatre ­witnessed a special Witches & Wicked Foundation 2013. © The Easton Foundation/VAGA, New York/ Collection. Image courtesy the Lee Miller Archives Glasgow and Glasgow City Council Bodies ‘By Night’ event at the Scottish the complexity of human emotions. The DACS, London 2014. Photo: Christopher Burke National Gallery, showcasing a live set exhibition was organised with the close Tickling Jock: Comedy Greats from The of keyboard-led psych, synth pop and collaboration of the Louise Bourgeois final vitrine,Untitled, 2010. These SCOTTISH NATIONAL Sir Harry Lauder to Billy Connolly Scottish analogue ambient by The Eccentronic Studio, particularly the artist’s assistant were complemented by major works PORTRAIT GALLERY Colourist Research Council fronted by actress Jerry Gorovoy, and featured two late mas- borrowed from Tate and the artist’s Man Ray Portraits 23 February 2013 to 11 May 2014 Series foundation, The Easton Foundation, Supported by players of People’s Maxine Peake, together with poetry terpieces: the cycle of sixteen monumental 22 June to 22 September 2013 JD drawings A l’infini, 2008–9 and the artist’s which generously lent a number of Postcode Lottery Fergusson readings by Blake Morrison. In addition, Sponsored by Baillie Gifford Filmhouse and the British Film Institute major sculptural works including 7 December 2013 – 15 June 2014 Organised by National Portrait Gallery, Tickling Jock showcased Scotland’s Book tickets now presented a complementary programme Below 10 am is when you come to me, Spiral Woman, 1984 and a room-sized Modern Two, Belford Road, Edinburgh London distinctive contribution to the world 2006 by Louise Bourgeois, installed at Spider from 1994. A fully illustrated, of film screenings in conjunction with the of entertainment from Sir Harry the Scottish National Gallery of Modern hardback publication was produced to Providing a dazzling record of some of exhibition, called Dark Visions. Lauder’s success in the early 1900s to Art. ARTIST ROOMS Tate and National accompany the exhibition, made pos- the most highly charged and exciting Billy Connolly’s first appearance on Sponsored by The Scottish Colourist Galleries of Scotland. © The Easton sible thanks to the generous support periods in twentieth-century art and A partnership between the National television’s Parkinson show in 1975. Galleries of Scotland, Edinburgh and The of Hauser & Wirth, Cheim & Read and fashion, this exhibition allowed visitors J.D. Fergusson, Grace McColl (detail), 1930. Private collection courtesy of the Richard Green Gallery, London. © The Fergusson Gallery, Perth & Kinross Council. National & Kinross Perth Gallery, © The Fergusson London. Galleries Gallery, Green of the Richard collection courtesy Private McColl (detail), 1930. Grace Fergusson, of ScotlandJ.D. is a charity registered in Scotland (No. SC003728). Fergusson Gallery, Perth & Kinross Council Series: J.D. Fergusson Foundation/VAGA, New York/DACS, The spotlight shone on performers,

F01922 JD Fergusson 684x486 Poster.indd 1 08/11/2013 08:38 London 2014 The Easton Foundation. to experience the world of creativity 7 December 2013 to 15 June 2014 actors and comedians, from the stage, Grace McColl by J.D. Fergusson, 1930 (detail), Private collection, Sponsored by Dickson Minto W.S. and glamour inhabited by Man Ray courtesy of the Richard Green Gallery, London. © The Fergusson (1890–1976), a leader of the Surrealist radio, and big and small screens, all Gallery, Perth & Kinross Council, Scotland A partnership between the National movement. He is widely considered one of whom shaped the way we watch, Galleries of Scotland and The Fergusson listen and laugh today. Visitors entered Gallery, Perth & Kinross Council of the most innovative and influential artists of the last century, renowned for ‘On Air’ booths to listen to and watch SCOTTISH NATIONAL Tour of selected works to Pallant House his remarkable experimentation across comedy clips and to leave a recording of GALLERY OF MODERN ART Gallery, Chichester, 5 July to 19 October 2014 a range of media, including photography, a comedy performance. The education The National Galleries of Scotland’s programme was particularly popular Witches & Wicked Bodies film, printmaking, painting and sculp- landmark Scottish Colourist Series of ture. The exhibition featured over 100 and attracted a wide variety of audiences 27 July to 3 November 2013 exhibitions culminated with the eagerly works, drawn from international public from families, older visitors, community Supported by Patrons of the National anticipated retrospective of the work of and private collections, most being groups and adult and further education Galleries of Scotland J.D. Fergusson (1874–1961). Fergusson vintage prints dating from his lifetime. groups. The Portrait Gallery hosted two Organised in association with the was born in Leith, and was essentially self- It charted Man Ray’s career from early very successful NGS ‘By Night’ events as taught. He moved to Paris in 1907 where, photographs, taken before he left New part of the Edinburgh Festival Fringe, Witches & Wicked Bodies was the first more than any of his Scottish contempo- York for France in 1921, to his later move with tours of the exhibition, stand-up large-scale exhibition in the UK to explore raries, Fergusson assimilated the latest to Hollywood, California. performances and conversations. the depiction of witches in art. Curated developments in French painting into his This was the first major retro- Stanley Baxter described Scottish by contemporary artist and writer work. In 1913 he met the dance pioneer spective in the UK to focus on his use humour as a combination of ‘language Professor Deanna Petherbridge, the Margaret Morris (1891–1980), who of photography between 1916 and and the life of the audience’ and visitors exhibition charted artists’ fascination became his life-long partner. Morris, her the 1960s. Following its showing in certainly played their part by engaging with the subject of witches and witch- technique, pupils and Summer Schools, Edinburgh, it transferred to the State wholeheartedly with the portraits in craft over the past 500 years. It included became the main sources of inspiration Pushkin Museum of Fine Arts, Moscow. this exhibition. 6 7 2013 ARTIST ROOMS On Tour is a partnership with Arts Council England, the Art Fund and Creative Scotland, making the ARTIST ROOMS collection of international modern and contemporary art available to galleries throughout the UK. ARTIST ROOMS is jointly owned by Tate and the National Galleries of Scotland and was established through The d’Offay Donation in 2008, with the assistance of the National Heritage Memorial Fund, the Art Fund, and the Scottish and British Governments.

For more information please visit nationalgalleries.org/artistrooms tate.org.uk/artistrooms artfund.org/artistrooms

Winter Bears, 1988 by Jeff Koons, installed at Brighton Museum and Art Gallery, 2013. ARTIST ROOMS National Galleries of Scotland and Tate. Acquired jointly through The d’Offay Donation with Taigh Chearsabhagh Museum & Arts assistance from the National Heritage Centre, North Uist Memorial Fund and the Art Fund Vija Celmins 29 March — 28 June 2014

2008. © Jeff Koons. Photography by Perth Museum & Art Gallery (Mapplethorpe Scottish Tour) James Pike Robert Mapplethorpe 10 November 2012 – 27 April 2013 Scottish National Gallery of Modern Art, Edinburgh Louise Bourgeois 26 October 2013 – 18 May 2014 The Park Gallery, Falkirk 23 August – 16 November 2013 Paxton House, Berwick-upon-Tweed ARTIST ROOMS is a Robert Therrien 2 June – 31 October 2013 Old Gala House, Galashiels collection of international Robert Mapplethorpe 11 May – 11 August 2013 Hatton Gallery, Newcastle-upon-Tyne contemporary art which The MAC Belfast Ed Ruscha 22 February – 22 May 2013 Andy Warhol 8 February – 28 April 2013 mima; Middlesbrough Institute of Modern Art was established through Jannis Kounellis 15 December 2012 – 10 March 2013 one of the largest and most York St Mary’s 26 July – 10 November 2013 Ferens Art Gallery, Hull imaginative gifts of art Martin Creed 8 June – 6 October 2013 ever made to museums The Potteries Museum & Art Gallery, Stoke-on-Trent Wednesbury Museum & Art Gallery in the UK. Gifted by Richard Long 30 November 2013 – 2 March 2014 Bill Viola 25 July – 1 December 2013

Wolverhampton Art Gallery The New Art Gallery Walsall Anthony d’Offay in 2008, Ron Mueck 20 July – 2 November 2013 6 October 2012 – 27 October 2013

with the assistance of Worcester City Art Gallery the National Heritage 26 October 2013 – 1 February 2014 Memorial Fund, the Art The Royal Pavilion & Museums, Brighton Turner Contemporary, Margate Fund and the Scottish and Jeff Koons 11 May – 8 September 2013 Sol LeWitt 29 November 2013 – 8 June 2014

British Governments, the Tate Britain Vija Celmins Until 17 March 2013 collection continues to 13 May – 29 September 2013 Martin Creed 11 October 2013 – 20 April 2014 grow each year through Bruce Nauman Until 15 July 2013 Until 31 January 2015 additional gifts, loans Joseph Beuys Until 31 January 2015 Dan Flavin 30 March 2013 – 20 April 2014 ARTIST ROOMS and purchases. 5 April 2013 – 20 April 2014

Through ARTIST ROOMS On Tour, the the means to broaden the geographical young people. The Park Gallery’s Youth their own text works and sculptures. showing the lasting impact that ARTIST enrolled on the course. Much of the national programme supported by Arts reach of the project, developing new part- Ambassadors were involved in promoting Among the year’s other highlights ROOMS can have. content for the MOOC took the form of Council England, the Art Fund and nerships with Associate venues. ARTIST the exhibition among their peers, and col- was the first major exhibition of the filmed interviews with academics, staff The ARTIST ROOMS Creative Scotland, we continued to work ROOMS was presented for the first time in laborated with Alec Finlay, Ian Hamilton work of Jeff Koons outside Edinburgh from Tate and NGS, and Anthony d’Offay. Research Partnership with museums and galleries to share this Galashiels, with an exhibition of works by Finlay’s son, on activities surrounding and London at Brighton Museum and The course ran for five weeks, with each extraordinary collection with audiences Robert Mapplethorpe at Old Gala House, the exhibition programme. In addition, Art Gallery. The exhibition attracted an The ARTIST ROOMS Research Partnership week focused on a different theme and in Scotland and across the UK. During and at Paxton House in Berwick-upon- the Gallery worked with the Employment audience of almost 120,000, and inspired is a collaboration between National associated works from the ARTIST ROOMS 2013–14, exhibitions were presented at Tweed with a display of works on paper Training Unit to bring together a group the creation of a new young project team Galleries of Scotland and Tate and collection. Participants were from 157 fifteen Associate venues outsideNGS by Robert Therrien. Taigh Chearsabhagh of young people who struggle with formal named the JK Collective. This group the consortium of the Universities of countries and the #warholmooc videos and Tate, and were seen by over 300,000 Museum and Arts Centre in Lochmaddy, education in order to support them in of nine young people aged fourteen Edinburgh, Glasgow and Newcastle, were streamed 59,746 times, with more ­visitors. A total of 263 works were lent North Uist, worked in ­collaboration with developing employment skills. Using to twenty-five took an active role in and engage. The first visual artsMOOC than 69,000 forum views. from the collection as part of the tour. ATLAS Arts to present the work of artist the exhibition as a catalyst, the young developing and marketing the Koons (Massive Open Online Course) was pro- We are grateful for the support of Vija Celmins, and The Park Gallery in people participated in a week-long project exhibition to attract a young audience. duced this year. MOOCs are a significant all our partners, without whom the Falkirk presented Ian Hamilton Finlay’s involving Historic Scotland with artist Some of the participants subsequently recent development in online education collection would not be seen by so many ‘Nature over again after Poussin’. Kevin Reid to explore Ian Hamilton joined the Museums Collective, a team of and the University of Edinburgh devel- people across the length and breadth All of our partners embraced the drive Finlay’s work in relation to local vernac- young people who organise events at the oped the course in collaboration with of the country. Their funding provides to engage new audiences and specifically ular and colloquialism, and to generate Brighton Pavilion Gardens and Museum, ARTIST ROOMS. Over 26,000 participants 8 9 Opposite and below The Scottish The National Galleries of Scotland aims to National Gallery © Keith Hunter Photography give the best possible access to its collection. We are working hard to upgrade our buildings, to develop our digital offer and to display the best art in order to achieve this aim.

Highlights

Planned Transformation of the It is intended to triple the floor area We shall also introduce a new staircase Scottish National Gallery available for the display of Scottish art at the south end of the main floor gallery, by relocating the offices, Print Room and which will replace the unsatisfactory Planning has now begun on a project Library to our planned new Collections stairwell dating from the 1978 scheme. which will radically transform the Centre. The radically restyled Scottish Externally, we shall be working on pro- Scottish National Gallery and improve Galleries will be accessed by a strikingly posals for Princes Street Gardens East visitor circulation throughout the designed flight of steps which will be which will greatly enhance the landscaping building. The project focuses on the situated on the south side of the Weston and integration of our gardens entrance Scottish collection which is at present Link. The display of Scottish art will with the surrounding area. displayed both in a lower level extension be broadly chronological but will also The Galleries have appointed as ­project of the Gallery, completed in 1978 and embrace changing thematic displays. architect the distinguished Scottish firm of entirely devoted to Scottish art, and Design emphasis will be placed on Gareth Hoskins Architects whose clients on the ground and first floors, where achieving a light and distinctive space, include the National Museum of Scotland, Scottish paintings are shown in a improving on the current cramped and Art Gallery and the Victoria & European context. gloomy conditions. Albert Museum, London.

10 11 To complement the exhibition a The development of ArtHunter and Scotland, Arts & Humanities Research free & app was developed. its reception has influenced how the Council (AHRC) and Nesta. ArtHunter was Generously supported by the Art Fund, Galleries now engage audiences. Lucy also generously supported by the Friends of the app offers extensive audio and visual Askew, Senior Curator at the Scottish the National Galleries of Scotland. content, including curatorial interviews, National Gallery of Modern Art, says: ArtHunter is completely free to about these iconic paintings. It is the ‘As a curator, it’s really important to allow ­download and use, and is available for both most sophisticated digital venture of this people to see the art and also allow it to Android and iOS phones. kind undertaken by the National Galleries breathe in its own space. Having informa- of Scotland to date. tion on a mobile device means that you Opposite top Titian and the Golden can do many different things with it, and Age of Venetian Art exhibition at the ArtHunter Mobile App it’s discreet. You can take as much or as Scottish National Gallery © Keith ArtHunter is a free mobile phone app little as you want from it.’ Hunter Photography created for National Galleries of Scotland The development of ArtHunter Opposite The Titian & Diana app on iPad enabling people to use their mobile was funded by the Digital Research and Below Using the ArtHunter app at the devices to access additional information Development Fund for Arts and Culture Scottish National Gallery of Modern Art. about the collection and also to encourage Scotland, a partnership between Creative Photo: John McKenzie them to visit new art venues. The app allows people to browse and capture selected artworks, then to reveal more about them with exclusive content from organisations and individuals who con- A major coup was the opportunity to Titian and the Golden artists and experts through video clips, Age of Venetian Art tributed so generously to the acquisition show for the first time in Scotland Titian’s audio, related artworks and zoomable of these extraordinary pictures. late masterpiece, The Death of Actaeon, Exhibition supported by the images. It also offers the chance to unlock Titian and the Golden Age of from the National Gallery, London. This Friends of NGS extra content using codes at participating Venetian Art drew upon the Gallery’s was the first time it has been lent any- art venues. One of the highlights of the year was superb collection of sixteenth-century where since the National Gallery acquired The app has received very positive the opening in March of our major Old Venetian paintings, drawings and prints it in 1972. The picture was intended as responses from the public and, from Master exhibition Titian and the Golden to provide context for the two Titian part of the same series as the two Diana summer 2014, it will be brimming with Age of Venetian Art at the Scottish paintings and illuminate this exception- scenes, but was never fully resolved by contemporary art as part of GENERATION, National Gallery. At the heart of the ally creative period in the city’s history. the artist and remained in his studio until exhibition were two of Titian’s most Three of the main floor galleries were his death. More sombre in tone than the the landmark series of exhibitions tracing celebrated paintings, transformed for the occasion, with two colourful Diana scenes, it illustrates the remarkable development of con- and , which were innovative interpretation incorporating the next – and final – episode in the story temporary art in Scotland over the last jointly acquired by the Scottish National comparative illustrations and technical of Actaeon. twenty-five years. Gallery and the National Gallery in material, and Venetian-themed design Almost all of the top names in London in 2009 and 2012, following features. The vibrant pigments and bold, Venetian art of the period were rep- a nationwide fundraising campaign. bravura brushwork that so distinguish resented, among them Lorenzo Lotto, ‘If you’re new to the whole gallery The exhibition afforded an opportunity of this period were Palma Vecchio, Jacopo Bassano, experience and are maybe of a to acknowledge and thank the many much in evidence. Jacopo and Paolo Veronese. younger generation, then using Highlights included Bassano’s festive your mobile is second nature, even pageant, The Adoration of the Kings, and Tintoretto’s altarpiece, Christ Carried to in a gallery. Overall I’ve found it the Tomb, as well as Titian’s early pastoral a really useful tool — it feels like masterpiece, The Three Ages of Man. This it’s all about inclusion, and that’s latter painting is part of the incomparable all-important.’ Bridgewater Loan of paintings Frankie, student at Edinburgh College of to the Scottish National Gallery. Crucially, Art, on the ArtHunter app. the acquisition of the two Diana paintings from the same collection has guaranteed ‘It will encourage me to get to the continuation of this entire loan until know different works from the at least 2030. ones I’m familiar with. Being able Notable among the selection of works to get that added information on paper was a rare, recently identified drawing by Titian, which the Gallery about specific paintings is like acquired, unrecognised for what it was, at having an expert alongside me auction in 2007. A fine selection of prints when I visit.’ reproducing works by Titian rounded off Pauline, regular visitor to the Galleries, the display. on the ArtHunter app. 12 13 The National Galleries of Scotland undertakes research of the highest academic quality on its collection, documentary archives and other specialist resources which we hold on the public’s behalf, as well as on works of art relating to our collection which are lent to our temporary exhibitions. Researching and Caring for our Collections

Important Rembrandt Etching Re-discovered Sometimes, exciting discoveries are made among familiar objects in the permanent collection. Surveying the Dutch prints, a unique Rembrandt etching was redis- covered in the Print Room of the Scottish National Gallery. The etching, a portrait of the Amsterdam preacher Jan Cornelis Sylvius, had previously been catalogued as a copy of a work by Rembrandt. However, recent research established that the etching is the work of the Dutch master himself. The fact that all the known copies of this print are in reverse (which this one obviously is not) was the first clue to Rembrandt’s authorship. Further comparisons with different impressions of Rembrandt’s etching proved that this print is not the work of a copyist. Experts from the Rijksmuseum in Amsterdam were contacted and endorsed Rembrandt’s authorship. Moreover, they confirmed that this is the only impres- sion of this etching known to have been printed in red ink. It was printed from the so-called second state of Rembrandt’s copperplate, after damage due to heavy use of the plate had been repaired by a different hand. Rembrandt portrayed the Amsterdam Opposite Art Handling Technician Cai Conduct preacher Jan Cornelis Sylvius in 1633, cleans the left foot of Paolozzi’s Vulcan at Modern Two. shortly after the artist had moved to © Trustees of the Paolozzi Foundation, Licensed the city from his home town of Leiden. by DACS 2014 Sylvius was a relative of Saskia van Above Jan Cornelis Sylvius, 1633 by Rembrandt, Uylenburgh whom Rembrandt married Scottish National Gallery, Edinburgh the same year. He became the godfather 14 15 Installation of Bourgeois Spider The Louise Bourgeois exhibition brought together ARTIST ROOMS works with loans in from other institutions and the artist’s foundation. Many of the works were of a complex nature and varied hugely in size and weight, presenting many challenges through an intense planning and instal- lation period. From transport through to equipment hire, installation and docu- mentation, the team worked closely with the Bourgeois specialists. Many of the works comprised of several parts, including combinations of made, found, and salvaged material, and as a result threw up many issues for access, assembly and conservation that required the whole team to resolve them. of their first child and baptised their the sanding of the floors in the café and Upgrades at the Scottish The installation of the huge work daughter Cornelia in 1638, the year the BBC filming the Antiques Roadshow. National Gallery Spider, 1994 that arrived in a crate as he died. The first step in the process was to eleven individually wrapped pieces Rembrandt produced at least 314 remove the surface dust on the Replacement of the cupolas, installation demanded a methodological approach, etching plates throughout his career, using soft bristle brushes and vacuum of wifi wiring, and refurbishment of main specialised equipment and a team of dating from about 1626 to 1665, one of cleaners. When the time came to sand floor galleries at the Scottish National six technicians, along with a specialist which, Beggar Woman Leaning on a the floors around Vulcan in July, the Gallery were major undertakings in Bourgeois technician. Stick, of 1646, is in the collection of the sculpture was wrapped in polythene 2013, and required the de-installation Scottish National Gallery. Impressions sheeting, involving four members of the and re-hanging of 330 paintings and 108 sculptures. in red ink are known of twenty-two Art Handling team and using genie lifts to reach the top. The team developed and delivered a etchings, only five of which are portraits. Tests showed that a solution of project plan which enabled the Gallery to All the red impressions were printed after mild detergent in de-ionised water was remain open to the public during each of Rembrandt’s death, most likely in the the most effective method in removing the three phases. During this time Tate early eighteenth century. the grease and more stubborn dirt that loaned Rodin’s The Kiss, installed on had accumulated on the surface of the the main floor galleries as a draw for the Cleaning of Paolozzi’s Vulcan sculpture. The work was carried out from public during periods when part of the The cleaning of Vulcan, the seven-and-a- scaffolding to ensure that every part had Gallery was inaccessible. Opposite Preparing for the replacement of the cupolas at half-metre tall sculpture sited in Modern been cleaned and buffed with a lint free The project also created welcome the Scottish National Gallery Two, was undertaken during 2013. This cloth. The scaffold was finally removed opportunities for dusting of the frames, Above Installation of Spider, 1994 by Louise Bourgeois, at was a challenge not only due to its size and the plinth repainted to complete the cleaning of the forty-seven Albacini the Scottish National Gallery of Modern Art. Lent by the and conservation considerations but also the overall care and conservation of this busts in the stairwells and a refreshment Easton Foundation. © The Easton Foundation/VAGA, logistically, as the timings coincided with iconic piece from our collection. of the displays. New York/DACS, London 2014 16 17 The water cascaded over the edge of the blocks where inspired? get writing! artist rooms they sat, and a small ant weaved its way slowly across the flagstones at their feet, dodging the heavy drops of water that fell upon the earth. The little girl’s eyes tracked its movement, slowly, carefully, like a hunter following its prey. Inside her tiny head, cogs whirled, imagining a world in which she was a small as an ant. How big this piece of art would be! get writing! From Come Rain or Shine by Eleanor Young inspired? In this fourth volume of inspired? get writing!, featuring thirty winning entries from the 2012 and 2013 competitions, you will find a very diverse and eclectic mix of poetry and prose. The common denominator is that they have all been inspired by works of art from the National Galleries of Scotland’s wonderful collection. The warp threads of more established writers mingle with and interweave through the weft threads of emerging writers, creating a magical cloth, rich in texture and colour. This is an ongoing collaborative project between the National Galleries of Scotland, The English-Speaking Union Scotland and the Scottish Poetry Library, and in these pages, whether a writer or a reader, you will undoubtedly find something to delight and inspire. inspired? Louise A fourth book of get writing! new poems and short stories Bourgeois inspired by the collection isbn 978 1 906270 64 3 of the National Galleries A womAn without of Scotland secrets

9 781 906 2 70643

BRITISH BOOK Publications and Scholarship both specialists and the general public are key parts of our activities and central DESIGN AND PRODUCTION NGS produces many publications each to our purpose as a national institution. AWARDS 2013 year which both complement our exhi- bitions programme and promote the It allows us to understand the national collection. Through our publications, art collection more fully, unlocking its scholarship and research of the highest great potential as a public resource by academic quality is made accessible to providing information of relevance to our the general public. We are delighted that many different audiences. the catalogue produced to accompany the exhibition From Death to Death and Other Small Tales: Masterpieces from ‘a beautiful catalogue that serves the Scottish National Gallery of Modern Art and D. Daskalopoulos Collection was as an addition to the exhibition winner of Best Exhibition Catalogue at and also a reference book in its own the British Book Design and Production Awards 2013. This was one of a number right. Interesting content supported of publications produced in 2013–14, by considered design from start to some of which are illustrated on the opposite page. finish. Attention to detail alongside As well as contributing to NGS publi- high production values.’ cations, our staff also take part in events and lectures across the UK and abroad, and publish articles in specialist maga- Above Receiving the award for Best Judges’ comments on zines and newspapers. Researching the Exhibition Catalogue at the British Book From Death to Death and Other Small Tales collection and sharing knowledge with Design and Production Awards 2013 18 19 Learning and access are key priorities and central Opposite Winner in the Tesco Bank Art Competition for Schools 2013 to our purpose as a leading cultural institution. We Below Roots album cover photo shoot, work actively with schools, communities, adults Barras market, Glasgow, 2013. Photo by Alan Craigie © Alan Craigie and and families to support their engagement with our National Galleries of Scotland Bottom The Nation//Live publication collection and exhibitions. From a rich programme and Roots album with cover of tours and workshops for schools to one-off, bespoke events, we make a significant contribution to the education, well-being and inspiration of the public. Learning Opportunities for All

The Nation//Live Project and Exhibition The Nation//Live focused on five The two-year Outreach project The key themes: Work, Union, Faith, Civil Nation//Live culminated in a dramatic War and Roots. Each was relevant to multimedia exhibition at the Scottish the history of the region in which it National Portrait Gallery from October was explored: jobs and unemployment 2013 to May 2014. Featuring the work of (Clydebank), the issue of Scottish inde- five Scottish communities, the exhibition pendence (Fort George and North East investigated the effect of the nation’s past Scotland), change in religious belief (Isle on its present and future. The aim of the of Skye), tolerance and sectarianism project was to extend participation in the (Dumfriesshire) and economic migration redeveloped Scottish National Portrait (Central Scotland). Led by contemporary Gallery by connecting its collection to artists, the participants examined their communities in five Scottish regions. own life stories through encounters 20 21 with historical works of art and went successfully across the curriculum. Through American Eyes, families created on to create their own original pieces This partnership project was funded and explored their own fantasy holiday including a voice drama, bronze medals, by Art Works Scotland and the Paul landscapes, all without stepping foot on a a dance performance, photographs Hamlyn Foundation. plane! Participants picked up a passport and a vinyl LP and concerts of songs by and collected stamps for every activity migrants to Scotland. Tesco Bank Art Competition completed, including painting an artist’s Over 200 people participated, for Schools 2013 postcard, making a model landscape facilitated by thirty-four partner In our tenth year of celebrating children’s diorama, designing carnival costumes and organisations and the project was art at the National Galleries of Scotland, styling their own holiday photo-shoot. generously funded by The Robertson the Tesco Bank Art Competition for Artist Fraser Gray created a mural onto Trust, the Hugh Fraser Foundation and Schools 2013 received 11,222 entries. This which participants could add exotic Creative Scotland. was an astonishing 81% increase from and fauna. 2012 and we were delighted to receive Adopt an Artist work from schools in all thirty-two Adopt an Artist is a pilot partnership council areas. Scottish Ballet used a selec- project involving art students from tion of entries as inspiration for the set and teaching design of their winter 2013/14 production students from Moray House School of of Hansel and Gretel. Six roadshow work- Education. The students were asked shops took place to promote the 2014 to devise activities for young learners competition in Aberdeenshire, Perth and in schools inspired by works from Kinross, East , Fife, Scottish the National Galleries of Scotland’s Borders, and Dumfries and Galloway. collection. The resulting exhibition, displayed at the Scottish National Staycation Gallery in March 2014, showed the use Supported by players of People’s Postcode of artists and artworks in the classroom Lottery Above Adopt an Artist exhibition at and encouraged unique approaches to the Scottish National Gallery. Photo learning. From studying John Hoyland’s Approximately 2,000 children and © Andy McGregor abstract painting in a mathematics ­families joined us at the Scottish National Opposite top Winner in the Tesco Bank class to investigate different permu- Gallery in the summer of 2013 for a Art Competition for Schools 2013 tations of pattern, to writing haikus magical journey of the imagination. Opposite below Staycation at the Scottish inspired by Boyle Family in an English Inspired by the exhibitions Peter Doig: National Gallery, summer 2013. Photo lesson, it revealed how art can be used No Foreign Lands and Frederic Church: © Alicia Bruce 22 23 Historical Embroidery chance to socialise and take part in crea- Historical embroiderer Helen McCook tive activities in a relaxed environment. spent three months based at the Scottish National Portrait Gallery in a new By Night ­initiative, engaging across all areas of our During 2013, we developed our ‘By work, meeting school students, families Night’ strand of evening events which and visually impaired groups. Her drop-in explored our exhibitions in innovative sessions within the gallery space were ways. In July, inspired by From Death to hugely popular, with people travelling Death and Other Small Tales, musicians long distances to attend. Helen teaches explored the human condition with at the Royal School of Needlework at intimate performances by Wounded Hampton Court Palace and was one of Knee, Withered Hand and Small Feet a team of embroiderers who worked on Little Toes. In August, the Portrait Gallery the royal wedding dress of Catherine became a Fringe venue for two evenings Middleton. Helen is also creating han- of stand-up, comedy in-conversations dling samples which will create a lasting and re-enactments of Francie and legacy of the project. She actively engaged Josie and Chic Murray in response to with over 1,000 visitors, bringing the Tickling Jock. And on Hallowe’en, actress paintings to life and giving an insight into Maxine Peake joined The Eccentronic the secret world of the embroiderer. Research Council in a performance of their critically acclaimed concept album, Gallery Social 1612 Underture, in response to Witches & A new programme was piloted as part of Wicked Bodies. the Luminate Festival in October 2013. Its aim was to enable anyone affected by dementia to enjoy the Galleries together with their supporters, families and loved ones. Generous funding from the Friends of the National Galleries of Scotland as well as assistance and advice from partici­pants, local dementia support Top left Portrait Gallery By Night: Opposite Historical embroiderer Helen groups and Age Scotland and Alzheimer A.L. Kennedy in conversation with John McCook at the Scottish National Portrait Scotland, has led to the programme Byrne in response to the Tickling Jock Gallery. Photo © Lisa Flemming becoming a regular part of our offer for exhibition. Photo © Andy McGregor Above Drop-in sessions at the Portrait these groups. Each month participants Top right Portrait Gallery By Night: The Gallery with Helen McCook. Photos explore a different theme or exhibition. Eccentronic Research Council featuring © Lisa Flemming There is an artist-led tour as well as the Maxine Peake. Photo © Andy McGregor 24 25 GENERATION whose work has created enormous range of contemporary art in Scotland. excitement and attracted international The exhibition at NGS includes some of The National Galleries of Scotland the most historically significant works Partnership launched its largest exhibition to date acclaim over the last quarter-century. created in Scotland in the last twenty-five in summer 2014 with the opening of It is being produced with the assistance and expertise of many partners including years, as well as recreations of significant GENERATION, the centrepiece to a land- shows and major installations. It brings mark celebration of twenty-five years of VisitScotland and EventScotland, British together loans from public and private contemporary art in Scotland, in which Council Scotland, Museums Galleries The National Galleries collections in the UK and abroad, many the work of more than 100 artists will Scotland, Education Scotland, Young of which are being shown for the very of Scotland is very be shown at over sixty venues across Scot, Children in Scotland and the BBC. first time in Scotland.GENERATION the country. At the centre of GENERATION is a successful at extending also reflects the continuing dynamism Organised by the Galleries in ground-breaking, three-part exhibition to of art in Scotland, with the inclusion its reach across the partnership with Glasgow Life and be shown across the National Galleries’ of newly commissioned installations Creative Scotland, this hugely ambitious three sites in Edinburgh. Taking in the as well as new paintings, drawings and world, giving the ­programme of exhibitions coincided flagship exhibition space at the Scottish photographic works. opportunity to promote with the 2014 Commonwealth Games in National Gallery, the whole of Modern Glasgow, and aimed to raise the profile One at the Scottish National Gallery and share some of the of contemporary art in Scotland and to of Modern Art and the Contemporary nation’s collection with increase access and participation. Gallery at the Scottish National Portrait It places the spotlight on a generation Gallery, GENERATION offers an unprece- a global audience. of artists living and working in Scotland, dented view of the richness, diversity and

26 27 Left Salisbury Cathedral from the Meadows, 1831 by John Constable. Purchased with assistance from the Heritage Lottery Fund, The Manton Foundation, the Art Fund (with a contribution from the Wolfson Foundation) and Tate Members. Photo © Tate, London Opposite Personnage (Person), 1978 by Joan Miró. Lent by the Miró Estate, Spain. © Successió Miró/ADAGP, Paris and DACS London 2014 Below Femme (Woman), 1970, by Joan Miró. Lent by the Miró Estate, Spain. © Successió Miró/ADAGP, Paris and DACS London 2014

HLF Skills for the Future Aspire: National Network Miró Sculptures at the Scottish In 2014 we embarked on a new and for Constable Studies National Gallery of Modern Art exciting initiative entitled ‘Skills for NGS is part of an innovative partnership Two extraordinary sculptures by the great the Future’ – a project which runs from between five national and regional Surrealist artist Joan Miró (1893–1983) now until 2018 and will provide twelve ­galleries which has helped to acquire have been placed on long-term loan to trainees with practical experience in one of the great masterpieces of British the Scottish National Gallery of Modern handling, documentation, digitisation and art for the nation: John Constable’s Art. These massive bronze sculptures, research of collections. Trainees will gain Salisbury Cathedral from the Meadows, the taller of which measures over three a number of recognised qualifications, 1831. The partnership, called Aspire: metres in height, have been generously most notably a newly created, customised National Network for Constable lent by the Miró Estate in Spain. Femme SQA award. They will also gain wide work- Studies, involves: Amgueddfa Cymru (Woman), 1970 and Personnage (Figure), place expertise and will help put online – National Museum Wales; Colchester 1978 were recently installed on the lawn the Scottish national collection of fine art. and Ipswich Museums; Salisbury and in front of Modern One, where they will This project will allow us to share South Wiltshire Museum; Tate Britain remain on long loan. our own leading expertise in this area, and NGS. It will enable the painting applying learning gained from recent to be displayed across the UK for the major digitisation projects, and it next five years at each partner venue, will build on our partnership with the through an ambitious national touring National Library of Scotland, capitalising programme accompanied by public on their knowledge and resources in events and learning activities. The ­digitisation. It will also enable NGS to Scottish National Gallery will present broaden access through recruitment from the masterpiece in 2017 as part of a more diverse backgrounds. special exhibition. The project would not have been Salisbury Cathedral from the ­possible without the backing of the Meadows is one of a series of monu- Heritage Lottery Fund and we were mental ‘six-footer’ canvases painted delighted to receive funding in excess by Constable. It depicts Salisbury of £650,000 from the Lottery to help us Cathedral under a heavy cloud and a deliver this valuable piece of work over striking rainbow. Constable called it his the next three years. The first trainees ‘Great Salisbury’ and in July 1834 he arrive in November 2014 and we will wrote, ‘I have no doubt of this picture bring you news of their progress next year. being my best now’. 28 29 The National Galleries of Scotland strives to enhance the nation’s collection of fine art through its acquisitions programme. It is funded by an annual grant from the Scottish Government which is supplemented from other sources including private benefactors, trust funds and the Art Fund.

Building Great Collections

Robert, Lord Bruce, later 2nd Brain of the Artist, 2013 Earl of Elgin (1626–1685), 1633 by Angela Palmer (b.1957) by Cornelius Johnson (1593–1661) Engraved on sixteen sheets of glass (edition Oil on canvas, 73.5 x 62 cm two from a series of five), 35 x 30 x 14 cm © Angela Palmer. Photo: John McKenzie This fashionably dressed young sitter is Robert, Lord Bruce, the only child and Angela Palmer has developed a form of heir of the Scottish nobleman Thomas sculpture which involves mapping on Bruce, 1st Earl of Elgin. As a boy Bruce multiple sheets of glass, either through received little formal education, but in engraved or drawn lines, features of his teens travelled to Europe becoming the human body, based on MRI and CT one of the first Scots to embark on the scans. This work, based on MRI scans Grand Tour. By 1659 he was an active taken of the artist’s brain at University Royalist conspirator and was involved College London, is a most unusual form in plans for an uprising against the of self-portraiture. It is an elegant, government, which led to his arrest. ethereal sculpture which develops in However, following the Restoration, a challenging way the concept of self-­ his loyalty was recognised by Charles representation. Palmer has explained: II and he was appointed to a number ‘this desire to “map” is at the core of my of prestigious posts at court and work, whether it be the internal architec- within parliament. This is the first ture of the human head or the physical portrait by Cornelius Johnson to enter geography of the planet’. Palmer, who the collection. was born in Aberdeen, pursued a career Opposite Detail from as a distinguished journalist prior to Robert, Lord Bruce, later training as an artist at the Royal College 2nd Earl of Elgin, 1633 by of Art, London, and the Ruskin School of Cornelius Johnson. Drawing, Oxford. 30 31 Queen of Scots, Sovereign of the The Chalk Cutting, 1898 Most Ancient and Most Noble by Arthur Melville (1855–1904) Order of the Thistle and Chief Oil on canvas, 85.1 x 92.8 cm of the Chiefs (b.1926), 2013 Purchased with the assistance of the Art Fund by Julian Calder (b.1945) and the Patrons of the National Galleries of Chromogenic print, 132.1 x 203.2 cm Scotland 2013 Purchased with the aid of the Patrons of Painted during the artist’s last decade, this the National Galleries of Scotland 2013 extraordinary composition reveals Melville © Julian Calder to have been one of the most inventive and In this portrait Queen Elizabeth II is innovative contemporaries and early asso- presented as Sovereign of the Most ciates of the . As in many of Ancient and Most Noble Order of the his watercolours of the 1890s, his treatment Thistle, a chivalric order that dates of landscape tends towards abstraction, from the seventeenth century. Her revelling in pure colour. Carefully orches- Majesty wears the robes of the Order trated touches, such as the signpost on the and insignia bearing the emblem of the cliff edge, subtly add definition. But the thistle (the national flower of Scotland) essential motif is the dazzling light reflected and the cross of Saint Andrew (the from the exposed white chalk face. Although patron saint of both the nation and the executed on an exhibition-scale canvas, this Order). picture was apparently not shown publicly Evoking the great paintings by Sir in the artist’s lifetime, perhaps because of its , the photographer pre- extreme experimentalism. With the acquisi- sents the viewer with a formal portrait tion of The Chalk Cutting, the Galleries now set against a highland backdrop. The have one of the most comprehensive and photograph was taken outdoors next to representative collections of Melville’s work the Gelder Burn on the Balmoral estate. in both oils and watercolour.

Laura Moubray, 1808 History, 2013 by John Constable (1776–1837) by Alexander Stoddart (b.1959) Oil on canvas, 44.5 x 35.5 cm Aluminium with enamel paint, Accepted by H.M. Government in lieu of 205 x 80 x 60 cm Inheritance Tax from the Estate of the late Purchased with the aid of the Mary Legget Lucian Freud and allocated to the Scottish Bowman bequest National Gallery 2013 © Alexander and Catriona Stoddart Although now world-renowned as a In 2011 Alexander Stoddart (Sculptor landscapist, Constable occasionally in Ordinary to The Queen in Scotland) ­experimented with portraits, the best was commissioned to restore a monu- of which are characterised by a sense of mental presiding figure of the muse of intimacy and integrity. Other than family History positioned at the apex of the main entrance to the Scottish National likenesses, most date from his early years Portrait Gallery. A figure representing and were often commissions mediated History, by the sculptor William Birnie by friends. One of the most engaging Rhind, adorned this point on the Constable portraits of a middle-class building from 1893. It fulfilled the archi- sitter, this was painted in London a tect Sir Robert Rowand Anderson’s year after Laura Hobson’s marriage to belief that sculpture should be integral Robert Moubray of Cockairny House in to architecture. Later, the statue became Fife. Born in 1788, Laura was the fourth weathered beyond repair and was daughter of a prosperous building con- removed from the exterior. Stoddart’s tractor in Tottenham, several of whose statue of History was installed in other daughters also sat for the artist. September 2013. An exhibition at the This picture was acquired by Lucian Portrait Gallery – Alexander Stoddart: Freud (1922–2011), himself an out- Making History – celebrated this com- standing figure and portrait painter, who mission and in particular explored the particularly appreciated Constable’s rare technical processes he employed. and refined portraiture. 32 33 Flower Still Life with recreated Van Huysum’s bouquet from his landscapes. Rosalina and her daughter Tête (Head), 1912 Untitled, 2013 Bird’s Nest, c.1718 real flowers. The video of this event has do not, however, reappear in any of his by Pablo Picasso (1881–1973) by Jonathan Owen (b.1973) been posted on our website. by Jan van Huysum (1682–1749) surviving views. Charcoal on paper, 64.5 x 49.5 cm Nineteenth-century marble bust with Oil on copper, 80.1 x 61.4 cm Purchased from the Henry and Sula further carving, 58 x 30 x 56 cm A Woman (Rosalina Scala) and Festive Occasion, 1924 Accepted by H.M. Government in lieu her Daughter in Traditional Walton Fund 2014 © The Artist by William McCance (1894–1970) of Inheritance Tax and allocated to the Dress, probably 1780s © Succession Picasso/DACS, Oil on cylindrical wooden container with Jonathan Owen was born in Scottish National Gallery 2013 by Giovanni Battista Lusieri (1754–1821) London 2014 Liverpool. He studied at Leeds metal fastenings, 24 x 21.4 cm (diameter) Pencil, pen and ink and watercolour, Metropolitan University and then at A magnificent Dutch flower painting © Estate of William McCance This large and exceptionally rare 30.6 x 25.8 cm Edinburgh College of Art, 1998 2000. by Jan van Huysum has been acquired drawing dates from Picasso’s Cubist – William McCance was born near He lives in Edinburgh. Owen special- for the National Galleries of Scotland This charming watercolour is amongst period. Rather than try to copy nature, Glasgow. In the early 1920s he developed ises in an elegant kind of vandalism. through the acceptance in lieu scheme. the finest of the sixty surviving figure Picasso was interested in recreating a machine-inspired, near abstract style, By erasing part of his original The vibrant colours of flowers from studies by Lusieri, who is best known for it by pulling it apart and recomposing much indebted to the work of Wyndham subject, he delicately transforms different seasons, placed against the dark his highly detailed panoramic landscapes. it. Part of the impetus behind Cubism Lewis and the Vorticists. He was one of its meaning. He has applied this background, its rich arrangement and Its acquisition comes in the wake of the comes from the desire to view an incredible detail have immediately made very few Scottish artists to follow such an approach to photographs and more acclaimed Lusieri exhibition mounted object from different sides, and put it a new favourite of our visitors. It was by the Scottish National Gallery in 2012, aggressively modernist path. From 1923 recently to sculpture. This is a nine- these different views back together the first Dutch flower still life to enter the and its purchase five years previously to 1926 he worked as art critic for The teenth-century bust (of Patrice de in a single picture. Cubism is the Scottish National Gallery’s collection. of his only known oil painting. This Spectator magazine, writing on figures Mac-Mahon, Duc de Magenta) which starting point for much modern art, Jan van Huysum is regarded as the most study was probably drawn in Naples, such as Picasso, Wyndham Lewis, Eric Owen purchased at auction and and this magnificent drawing lies at important flower painter of his time. where Lusieri had moved from Rome Kennington, Jacob Epstein and Stanley re-carved himself, presenting us with the high-point of the movement. It This stunning painting is his largest and in 1782. It was acquired with a mass of Spencer. Paintings from McCance’s an unsolvable yet innately intriguing most ambitious on copper, a support he other Lusieri drawings from the artist’s Vorticist-inspired years are very rare. was purchased at auction through the puzzle. This sculpture forms the only used occasionally. Shortly after the heirs by the 7th Earl of Elgin, for whom Festive Occasion is painted on what was Henry and Sula Walton Fund. Henry centrepiece of a room devoted to painting had been allocated, the Gallery Lusieri worked in Athens for the entire probably a dry food container – perhaps and Sula Walton were passionate Owen in the Sottish National Gallery was able to purchase a beautiful mezzo- second half of his career. Series of images originally made for tea or biscuits. It about Picasso’s work: they bequeathed of Modern Art’s GENERATION tint by the Austrian printmaker Johann documenting local and regional costumes was first painted as a ‘Last Supper’, a number of his prints to the Gallery in ­exhibition in 2014. Peter Pichler, made after Van Huysum’s were becoming popular at this time, but but because the figures appear to be 2012 and established a charitable fund still life in 1806. Lusieri’s figure studies served the more imbibing quite heavily, the artist felt that with the aim of helping the Gallery In a recent event organised by the practical purpose of providing a ready ‘Festive Occasion’ might make a more acquire major new works. This work Friends of the National Galleries, a florist stock of figures with which to populate appropriate title. was bought in their honour. 34 35 1.7.68, 1968 and colour. His attraction to colour was partly a reaction against the greyness, by John Hoyland (1934–2011) as he saw it, of his hometown, and partly Acrylic on canvas, 198.1 x 365.7 cm sparked by his discovery of post-war Presented by Beatrice Monti della Corte American abstract painting, which he 2013 saw in London and on several trips to © Estate of John Hoyland. All rights New York. From 1967 to 1969, when this reserved, DACS 2014 work was painted, Hoyland worked in Born in Sheffield, Hoyland studied at New York for part of each year. 1.7.68 was Sheffield School of Art and then at the painted just as the artist was beginning Royal Academy Schools in London. to see major success in his career: the His early work consisted of landscapes previous year he held his first major and still lifes, but by the 1960s he was solo exhibition, at the Whitechapel Art exploring the possibilities of abstraction Gallery in London.

Above Black Brook, 1988 by Alex Katz Below Play Dead; Real Time, 2003 by (b. 1927), oil paint on linen, 214 x 457.7 x Douglas Gordon (b.1966), video, two 4.5 cm, ARTIST ROOMS National Galleries projections and one monitor, colour, 21 of Scotland and Tate. Presented by the minutes and 11 minutes, ARTIST ROOMS artist 2011. © Alex Katz National Galleries of Scotland and Tate. Lent by Artist Rooms Foundation 2012. © Douglas Gordon/VG Bildkunst, Bonn 2012

ARTIST ROOMS Gifts and Loans and memory, authorship and authenticity, out on Minnie, beginning with a close-up Seven works entered the ARTIST ROOMS as well as dualities such as darkness and on the eye. By separating this image in collection in 2013–14. Once again, the light, positive and negative, and the ten- this way, Gordon has managed to make tireless efforts of Anthony d’Offay and sions between good and evil. us feel the mysterious relationship that Marie-Louise Laband have resulted in The silent video installation Play exists between mind and body – the mind major acquisitions. Dead; Real Time is comprised of two large of the elephant and its huge body. A group of works by the Scottish artist projection screens and a floor-based The American artist Alex Katz gen- Douglas Gordon entered the collection, monitor. The screens and monitor display erously gifted two large paintings to the including a large video installation, three footage of Minnie: a four-year-old circus ARTIST ROOMS collection: Black Brook, video monitor pieces and a text-based elephant performing a series of tricks 1988 and Full Moon, 1988. The collection work. Four of the works were generously such as standing still, playing dead and now holds twenty-seven works by Katz, gifted by the artist, while the installation begging. On the screens, arranged perpen- which span the artist’s career. Play Dead; Real Time, 2003 is on loan dicular to one another, the camera circles from the Artist Rooms Foundation. These the life-size elephant clockwise on one A full list of works acquired in cover many of Gordon’s recurrent themes screen and anti-clockwise on the other. 2013–14 is available on the NGS such as recognition and repetition, time The footage on the monitor zooms in and website www.nationalgalleries.org 36 Opposite Friends Christmas Party The staff and Trustees would like to thank 2013. Photo © AMJ Photography Below Friends 10 Year Thank You 2013. all those who have given their support, Photo © AMJ Photography donations and works of art, or who have left legacies or in memoriam gifts to the National Galleries of Scotland in 2013–14. In addition we would like to thank the Friends, Patrons and American Patrons of the National Galleries of Scotland for their continued interest in, and support for, our work. Supporters

Corporate Support Donors The Clothworkers’ Foundation Apex Hotels The Scottish Government Dr Roger Collins and Dr Judith Baillie Gifford Heritage Lottery Fund Scotland McClure CBE Caorunn National Heritage Memorial Fund Ena Dunbar

Dickson Minto NGS Foundation Edinburgh Decorative and Fine Arts Society Doughty Hanson & Co The Art Fund The Edinburgh Residence Creative Scotland Sir Tom and Lady Farmer Progress Sponsorship & Players of People’s Postcode Lottery Dr Angus Findlay Communications American Patrons of the National Library Gordon Fraser Charitable Trust Rathbones and Galleries of Scotland The Hugh Fraser Foundation Tesco Bank The Binks Trust Friends of the National Galleries Turcan Connell Catriona Burns on behalf of Magnus of Scotland Edward Falcon Read The Hosali Foundation 38 39 Visitor Numbers Scottish National Gallery 933,954 Scottish National Gallery of Modern Art National Galleries of Scotland Facts and267,85 Figures9 Scottish National Portrait Gallery Board of Trustees 258,446 Ben Thomson Chairman Tricia Bey Visitor Numbers Richard Burns (to 31 December 2013) Alistair Dodds (from 1 January 2014) Edward Green (from 1 January 2014) Benny Higgins (from 1 January 2014) Scottish National Gallery Scottish National GalleryProfessor Ian Howard Scottish National Gallery of Modern Art Scottish National GalleryScottish of Modern National Art PortraitJames Gallery Knox (to 31 December 2013) Lesley Knox Scottish National Portrait Gallery Tari Lang (from 1 January 2014) Ray MacFarlane Alasdair Morton Catherine Muirden Nicky Wilson

Scottish National Gallery Senior Management Team 933,954 Sir John Leighton Director-General Scottish National Gallery

267,859 of Modern Art Michael Clarke Director, Scottish National Gallery Nicola Catterall Scottish National Portrait Gallery 258,446 Chief Operating Officer Dr Simon Groom Director, Scottish National Gallery of Modern Art Total visitors to Edinburgh Galleries 1,460,259 Christopher Baker Director, Scottish National Portrait Gallery Jacqueline Ridge Virtual Visitors Keeper of Conservation Alan Gibson The Imlay Foundation In Memoriam Above Friends 10 Year Thank You 2013. NGS website visits Director of Public Engagement International Music and Art Foundation To celebrate the life of M. Una R. Downs Photo © AMJ Photography 1,389,528 Elaine Anderson Italian Cultural Institute To celebrate the life of Daphne Foskett Head of Planning and Performance Facebook Likes Johnny Van Haeften Ltd 11,110 Legacies Finance Brian and Lesley Knox William Leonard Jacob Twitter Followers Full Annual Accounts for 2013–14 Kimberly C. Louis Stewart Foundation Doctor Allan Boyd Jamieson 14,764 are available on the NGS website Donald and Louise MacDonald www.nationalgalleries.org. The Robert Mapplethorpe Published by the Trustees of the Foundation, Inc Educational Visits National Galleries of Scotland 2014 Mondriaan Fund ISBN 978–1–906270–85–8 Total number of participants from schools, Iain More © Trustees of the National Galleries of Scotland 2014 27,396 higher and further education NESTA Unless stated otherwise, all works © the Artists Walter and Norma Nimmo Designed by Dalrymple Total number of adult participants at talks, Printed by Pureprint Patrons of the National Galleries lectures and practical workshops 27,135 Photographic Credits: Unless stated otherwise, all images of Scotland have been photographed by John McKenzie, Antonia Reeve, Alexander Porteous Total number of community and NGS Education, NGS Curatorial Team, NGS Development and NGS The Robertson Trust 4,578 outreach participants Conservation and are © National Galleries of Scotland. All other images are © the photographers. For further Terra Foundation for American Art information on all our activities please visit our website: Total number of families with children www.nationalgalleries.org. National Galleries of The Tulip Charitable Trust at drop-in events Scotland is a charity registered in Scotland (no.SC003728) 40 7,853