Publications Forthcoming Surreal Encounters: a superb overview of surrealist art. Collecting the Marvellous Ten essays will explore the different origins, historical contexts and creative Dawn Ades, Richard Calvocoressi, urges behind these collections. Artworks, Désirée de Chair, Elizabeth Cowling, perhaps more than anything else that one Hubertus Gaßner, Annabelle Görgen, can acquire, are objects of desire and surre- Keith Hartley, Saskia van Kampen-Prein alist artworks even more so. The sheer and quality of the works acquired (and, in the case of the Pietzsches, still being acquired) 300 X 245MM | 240PP | JUNE 2016 220 COLOUR ILLUSTRATIONS is astonishing and, while passionate about 978 1 906270 97 1 | £30 PAPER their private visions, all the collectors have been mindful of contributing something to This book will bring together over 160 of Joan Eardley A Sense of Place the public good. the finest surrealist artworks by legendary The collections complement each other artists including Salvador Dalí, , to an extraordinary degree and allow us René Magritte, Joan Miró and . to follow some of the artists’ careers from The works hail from the four renowned and beginning to end. By uniting them, exciting extraordinary private collections of Edward new juxtapositions emerge along with a James, , and fuller and richer picture of the surrealist Ulla and Heiner Pietzsch, and together offer movement as a whole.

LEONOR FINI 1907–1996 SURREAL ENCOUNTERS collecting the marvellous

79 , Due Donne (Two Women), 1939 the u lla anD heiner Pietzsch c ollection, b erlin

80 Leonor Fini, The Alcove, c.1939 the eDwarD James f ounDation

JOAN MIRÓ 1893–1983

Joan Eardley: A Sense of Place of the fishing village of Catterline, just south of Aberdeen, with its leaden skies Patrick Elliott and wild sea. These two contrasting

113 Joan Miró, Flêche transperant fumée (Smoking, Piercing Arrow), 1926 the u lla anD heiner Pietzsch c ollection, b erlin

114 Joan Miró, Peinture (), 1925 240 X 275MM | 120PP | NOVEMBER 2016 strands are the focus of this book, which the u lla anD heiner Pietzsch c ollection, b erlin 120 COLOUR ILLUSTRATIONS looks in detail at her working process. It 978 1 911054 02 3 | £19.95 PAPER

If there is one item in the Gabrielle Keiller collection Like most private collections formed over a long draws on a remarkable archive of sketches which could be said to sum it up that item would have period of time, this collection underwent various to be ’s La Boîte-en-valise, 1935–41 mutations. Many things, once acquired, remained, but [pl.55]. I say this for two reasons. The first has to do with others were sold and replaced as Keiller’s priorities or the history of twentieth-century art: Duchamp is the vital circumstances altered. Of those which she bequeathed link between the three dominant strands in the collection to the Scottish National Gallery of Modern Art, the first – , and the work of Eduardo Paolozzi – was bought in 1959 – a tiny oil by the ‘Douanier’ Henri animating the first, intervening in the second, influencing Rousseau titled La Statue de Diane au parc of about 1909 the third. The second has to do with the character of [pl.147] – and the last nearly thirty years later – several the collection: La Boîte-en-valise was conceived on an quirkish dada and surrealist relics, including Duchamp’s intimate scale to suit the private connoisseur and was 1922 The Non-Dada [fig.59] bought in 1987, and a small Joan Eardley’s career lasted barely fifteen and photographs which remains largely tailor-made to offer a private view of the things packed cut-out by of about 1938 bought the away so neatly and ingeniously inside its leather-bound following year. The dynamic of her taste is revealed when carrying case. For, like the samples of the travelling we look more closely at the bills of sale, many of which, journeyman, the replicas of his works that Duchamp fortunately, survive. A critical turning point came in 1960 made for the Boîte are all miniatures. Ideally the contents when Keiller went to . Hitherto she had shown have to be unpacked slowly and meticulously in the little interest in modern art but had collected Old Master privacy of one’s home; and once one has folded out the , antique furniture and period silver, pottery and mock museum display, the retrospective Duchamp has porcelain; six months before she bought the Rousseau staged can only be examined properly by one or two mentioned above she bought a small panel depicting a people at the same time. The experience is both like female saint by the early Netherlandish painter Gerard putting on a toy theatre production and going through a David. But on this particular trip to Venice she visited years: she died in 1963, aged just forty-two. unknown and unpublished. It also features portfolio of prints. ’s magnificent collection of surrealist The connection between La Boîte-en-valise and the and abstract expressionist art and was introduced to Keiller collection as a whole resides in this element of the work of Paolozzi then on show in the Biennale. intimacy, for despite the presence of a number of larger These experiences reinforced each other and within a works it is mainly a collection of portable, private-scale few years her collection had begun to take a radically things – modestly proportioned paintings and collages, different course. The David was sold off. So were a misty drawings and prints, hand-sized objets, manuscripts and late landscape by Camille Corot and a tiny portrait of a rare books. Like Duchamp’s La Boîte-en-valise – which woman by Auguste Renoir. So too were three drawings was his selection from within his entire oeuvre – it by the nineteenth-century illustrator Constantin Guys displays an idiosyncratic taste and vision, and expects which had been bought in 1959 at the same moment as During that time she concentrated on many works from public and private collec- the spectator to come close – ideally to touch and hold the Rousseau. But the Rousseau itself was allowed to and browse. Keiller herself loved to browse among her stay: the painter of The Dream, 1910 (Museum of Modern treasures. Perceiving my covetous looks when I visited Art, New York) was one of the all-time heroes of the her once she proposed that we ‘play with Duchamp’s box’. surrealist movement and owning a Rousseau, if one was Fig.52 | Max Ernst, Max Ernst For the next half-hour we were totally engrossed, and she committed to Surrealism, was tantamount to living with montrant à une jeune fille la tête de son père (Max Ernst Showing a admitted that she quite often unpacked and repacked it one’s household god. Young Girl the Head of his Father), on her own, as excited as a child at last permitted to play Among the earliest purchases to reflect Keiller’s 1926/7 two very different themes: the extraordi- tions, allowing the viewer to trace specific with a precious doll’s house. conversion to strictly contemporary art was Richard [detail of pl.66] elizabeth CowlinG narily candid paintings of children in the developments between the photographs, GABRIELLE KEILLER COLLECTS Townhead area of Glasgow; and paintings the drawings and the finished paintings. 218 Gabrielle Keiller | 219

2 3 Rubens & Company: Flemish Cornelis Schut. Many of the works are Drawings from the Scottish preparatory drawings or studies which offer DAUBIGNY a fascinating insight into the processKnown of today for his atmospheric views National Gallery of the River Oise, Daubigny was a pioneer of

these revered artists. modern landscape painting and an important AND IMPRESSIONISM DAUBIGNYAND An introductory essay complementsprecursor ofa French Impressionism. Although Christian Tico Seifert commercially highly successful he was often IMPRESSIONISM catalogue of the twenty-eight workscriticised which for his broad, sketch-like handling 245 X 220MM | 80PP | JUNE 2016 and unembellished view of nature, and will feature in the exhibition held atwas the dubbed the leader of ‘the school of the 60 COLOUR ILLUSTRATIONS impression’. As a result he drew the attention Scottish National Gallery, each discussedof the next generation of artists, among them 978 1 906270 98 8 | £14.95 PAPER and Vincent van Gogh, who in depth and accompanied by detailedwere inspired by Daubigny’s frank naturalism, bold compositions and technical innovations. This book presents a selection of catalogue information. Many of theTheirs works was an artistic dialogue which spanned outstanding Flemish drawings from the featured have not been displayed forthirty years, from the early 1860s to the end of Van Gogh’s short life. collection of the National Galleries of decades and have never before been illus- . Masters such as Rubens, Van trated in colour. The book is a captivating Dyck and Jordaens feature alongside resource for exhibition visitors, academics

­lesser-known artists including David and anyone with an interest in drawing or national of scotland galleries Teniers the Younger, Jan Cossiers and Flemish art.

Rubens & Company Flemish Drawings from the Scottish National Gallery

Daubigny and Impressionism compositions and technical innovations. Theirs was an artistic dialogue which Frances Fowle spanned thirty years, from the early 1860s 200 X 225MM | 36PP | JUNE 2016 to the end of Van Gogh’s short life. 22 COLOUR ILLUSTRATIONS 978 1 911054 00 9 | £7.95 PAPER 13 Charles François Daubigny Moonrise at Auvers, also known as The Return of the Flock, 1877 Oil on canvas, 106.5 × 188 cm The Montreal Museum of Fine Arts Known today for his atmospheric views of the River Oise, Daubigny was a pioneer of modern landscape painting and an important precursor of French Impressionism. Although commercially highly successful he was often criticised 22

Inspiring Impressionism LAYOUT copy.indd 22-23 05/04/2016 16:36 for his broad, sketch-like handling and

22 Vincent van Gogh Daubigny’s Garden, 1890 Oil on canvas, 50 × 101.5 cm unembellished view of nature, and Collection Rudolf Staechelin moved to the village, his widow was still living intense summer sun and shot himself in the chest. there, and was happy to allow the Dutch artist He died two days later. to set up his easel in her garden. Daubigny had acquired the house just before he died, so never was dubbed the leader of ‘the school lived or worked there. Nevertheless the painting Conclusion became Van Gogh’s homage to the artist he had Despite Van Gogh’s struggle with life, he presented, admired throughout his career. In the large composi- in the main, an optimistic view of France as tion he showed the whole of the house and a section prosperous and richly verdant. This was something of the garden, with Madame Daubigny in the he shared with both Monet and Daubigny, whose background and a black cat in the foreground. In orchard paintings likewise symbolise springtime of the impression’. As a result he drew his last letter to Theo, written on 23 July 1890, he and renewal and whose wheatfields represent make a sketch of the painting, which he described abundance and fecundity. Theirs was an artistic as ‘one of my most deliberate canvases’.13 dialogue which spanned thirty years, from the early In the end Van Gogh produced twelve of these 1860s to the end of Van Gogh’s short life. It was horizontal canvases, among which are some of the Daubigny who led the way: his frank naturalism, most expressive and emotionally charged works of bold compositions and technical innovations his entire career. They included the Wheatfield with providing inspiration for the next generation of the attention of the next generation of Crows, 1890 (Van Gogh Museum, Amsterdam) which, artists. Today he deserves to be remembered, not painted in stabbing brushstrokes of brilliant yellow only for inventions such as the studio boat, but and deep blue, shows crows hovering above the for his crucial contribution to the development of ripening wheat under a threatening sky. In his final modern landscape painting. For it was only through letter to Theo, Van Gogh described this and another the example of pioneers like Daubigny that artists similar canvas as ‘vast fields of wheat under troubled such as Monet and Van Gogh were inspired to artists, among them Claude Monet and skies … I did not need to go out of my way to try to work in new and innovative ways. express sadness and extreme loneliness.’14 Four days later he walked out into the wheatfields under an Vincent van Gogh, who were inspired by Daubigny’s frank naturalism, bold daubigny and impressionism 35 Inspiring Impressionism LAYOUT copy.indd 34-35 05/04/2016 16:36

4 5 New Facing World the

This is FINE GERMAN DESIGN. The self-portrait is one of the most fascinating themes in art history. This book illustrates an exciting survey of around 150 self-portraits from Rembrandt to Ai Weiwei, covering six centuries and a wide variety of media. Featured artists include such famous names as Palma Vecchio, Gustave Courbet, Anselm Feuerbach, Ernst Ludwig Kirchner, Henri Matisse, Max Beckmann, Andy Warhol, Marina Abramović and Tracey Emin. The works are drawn from three major European collections: Self-portraits from Rembrandt to Ai Weiwei the Staatliche Kunsthalle Karlsruhe, the Musée des Beaux-Arts in Lyon and the National Galleries of Scotland in . Introductory essays by three distinguished authors representing each of the participating member countries of the European Union delve further into a topic which, in the age of the selfie, Facebook and Instagram, seems more relevant than ever.

www.snoeck.de Facing the World

Snoeck ISBN 978-3-86442-139-6 Self-portraits from Rembrandt to Ai Weiwei

Bridget Riley: Paintings 1963–2015 within the pictorial field. Throughout the Facing the World: Self-portraits Gustave Courbet, Anselm Feuerbach, succeeding decades, Riley has continued Ernst Ludwig Kirchner, Henri Matisse, Éric de Chassey, Frances Spalding and from Rembrandt to Ai Weiwei her investigation into perception through Max Beckmann, Andy Warhol, Marina Robert Kudielka related bodies of work in rich colour. James Hall, Pierre Vaisse, Wolfgang Abramović and Tracey Emin. The works 255 X 215MM | 96PP | APRIL 2016 This volume accompanies a focused Ullrich et al. are drawn from three major European OVER 30 COLOUR ILLUSTRATIONS display at the Scottish National Gallery 300 X 240MM | 288PP | MARCH 2016 collections: the Staatliche Kunsthalle 978 1 909932 26 5 | £17.95 HARDBACK of Modern Art, Edinburgh (15 April 2016 180 COLOUR ILLUSTRATIONS Karlsruhe, the Musée des Beaux-Arts RIDINGHOUSE IN ASSOCIATION WITH – 16 April 2017), which tracks Riley’s 978 1 906270 96 4 | £29.95 PAPER NATIONAL GALLERIES OF SCOTLAND in Lyon and the National Galleries of PUBLISHED IN COLLABORATION WITH work up to the recent reintroduction of Scotland in Edinburgh. Introductory SNOECK Spanning over fifty years of Bridget Riley’s a monochromatic palette. It includes essays by three distinguished authors career, this volume explores the dialogue essays by Éric de Chassey and Frances The self-portrait is one of the most fasci- representing each of the participating between monochrome and colour in the Spalding as well as a historic interview nating themes in art history. This book member countries of the European Union artist’s work. with the artist by Robert Kudielka, which illustrates an exciting survey of around delve further into a topic which, in the Riley gained critical attention internation- together contextualise Riley’s early 150 self-portraits from Rembrandt to Ai age of the selfie, Facebook and Instagram, ally for her black-and-white paintings during developments and demonstrate how her Weiwei, covering six centuries and a wide seems more relevant than ever. the mid-1960s, using elementary shapes to latest paintings progress directly out of a variety of media. Featured artists include engage the eye by creating flux and rhythm rigorous engagement with colour. such famous names as Palma Vecchio,

6 7 Inspiring Impressionism: at the Salons and introduced both featured are not widely known and so will Daubigny, Monet, Van Gogh Monet and Pissarro to the art dealer Paul be a revelation to readers, whilst others Durand-Ruel. He moved towards a more with established reputations are evaluated Lynne Ambrosini, Nienke Bakker, subjective interpretation of nature in his afresh. An essay by Alice Strang and artist René Boitelle, Michael Clarke, Maite later sunsets and nocturnes, inspiring not entries by twenty-one authors uncover van Dijk and Frances Fowle only Monet, but Vincent van Gogh, who and celebrate women’s contribution to this 265 X 245MM | 176PP | JANUARY 2016 spent the last two months of his life close chapter of Scottish modern art history. 140 COLOUR ILLUSTRATIONS to Daubigny’s home and studio at Auvers- 978 1 906270 86 5 | £24.95 PAPER sur-Oise. These themes and others are An Art Adventure around the Charles François Daubigny (1817–1878) explored through a series of essays that National Galleries of Scotland was one of the most important French examine his interactions with the young landscape painters of the nineteenth Impressionists, the market response to Eilidh Muldoon century. This book reassesses his work his paintings, the evolution of his highly 230 X 230MM | 34PP | NOVEMBER 2015 and examines his importance for the original technical processes and his role as BLACK AND WHITE LINE DRAWINGS Impressionists, as well as for Van Gogh. the leader of an artists’ colony. 978 1 906270 92 6 | £7.95 HARDBACK Daubigny helped to shape Impressionism The book accompanies a touring exhibi- This beautiful colouring and drawing book through his working practice: routinely tion at the Taft Museum of Art, Cincinnati, takes us on a journey through Edinburgh, painting outdoors, often from his studio USA from 20 February to 29 May 2016; visiting each of the three National Galleries boat; exploring new subjects and unex- the Scottish National Gallery, Edinburgh Modern Scottish Women: of Scotland. Intricately illustrated and pected viewpoints; and developing a from 25 June to 2 October 2016; and the Painters and Sculptors decorative, there are drawings to complete, radically ‘unfinished’ style and a brighter Van Gogh Museum, Amsterdam from 1885–1965 colour and embellish, and paintings and palette. He supported the Impressionists 21 October 2016 to 29 January 2017. Edited by Alice Strang sculptures from the national collection to be discovered! Enjoyable for all ages. 265 X 245MM | 128PP | NOVEMBER 2015 60 COLOUR ILLUSTRATIONS Eilidh Muldoon (Muldoodles) is an 978 1 906270 89 6 | £18.95 PAPER Edinburgh-based illustrator and designer. Much of her work is inspired by the iconic In 1885 Sir William Fettes Douglas, buildings in the city. President of the , declared that the work of a woman artist was ‘like a man’s only weaker and poorer’. Yet between 1885, when Fra Newbery was appointed Director of of Art and did much in terms of gender equality amongst his staff and students, and 1965, when Anne Redpath, the doyenne of post-Second World War Scottish painting died, an unprecedented number of Scottish women trained and worked as artists. This book focuses on forty-five Scottish female painters and sculptors and explores the conditions that they negotiated as students and practitioners due to their gender. Many of the artists

8 9 Kurz Luxor 377 ARTHUR MELVILLE The Amazing World of LEIG H The Printmaker’s Art

JOHN LEIGHTON T

M.C. Escher O

N Hannah Brocklehurst and

Micky Piller, Patrick Elliott and Kerry Watson · ADVENTURES IN COLOUR Frans Peterse 200 X 220MM | 96PP | APRIL 2015 60 COLOUR ILLUSTRATIONS 220 X 245MM | 144PP | JUNE 2015 978 1 906270 75 9 | £14.95 PAPER 80 COLOUR ILLUSTRATIONS 978 1 906270 88 9 | £19.95 PAPER The print collections of the National Galleries The Dutch artist M.C. Escher (1898–1972) of Scotland reveal a diverse and dazzling

the Director-General Sir John Leighton is intended to evoke the special character of variety of different techniques and approaches created some of the most celebrated the collection at the National Galleries with Arthur Melville (1855–1904) was arguably In this comprehensive survey of Arthur Melville’s the most innovative and modernist Scottish artist career, the artist emerges as Orientalist, forerunner National Gallery. Together these galleries and international art as well as the many conversations that it establishes between the of his generation and one of the finest British of the Glasgow Boys, painter of modern life and to printmaking. From exquisite copperplate and extraordinary images inbe found twenti anywhere in the world, r-anging art of the past and the present. watercolourists of the nineteenth century. During his re-interpreter of the landscape of Scotland. His from the thirteenth century to the present lifetime critics were compelled to find new ways to spectacular watercolours – adventures in colour – day. Many of the greatest names in Western is Director-General describe his work; he painted in ‘blobs’ and ‘spots’. were inspired by his travels and his later works in oils art are represented by major works, from of the National Galleries of Scotland. He was engravings by the old masters to woodblocks In 1943 the Scottish Colourist J.D. Fergusson were equally radical and ambitious. Opening with ISBN 978 1 906270 87 2 eth-century art, yet he remainsTitian, Rembrandt an and Vermeer elusive through to formerly Direc tor of the Van Gogh Museum in Amsterdam and Curator of nineteenth-century confessed that although they never met, ‘his work a career survey by Kenneth McConkey, this book illustrated book contains one hundred of the paintings at the National Gallery in . opened up to me the way to free painting – not merely illustrates over seventy of his works, each with a National Galleries of Scotland’s greatest and He is the author of numerous publications and aona aees 9 7 8 1 9 0 6 2 7 0 8 7 2 9 7 8 1 9 0 6 2 7 0 0 1 8 cut on kitchen tables, this book examines freedom in the use of paint, but freedom of outlook’. catalogue entry. figure. In the 1960s, when his reputationexhibition catalogues on nineteenth-century art. ARTHUR MELVILLE o oan ADVENTURES IN COLOUR sky-rocketed, he was championed on key works by artists from Dürer to Warhol the one hand by leading mathematicians100 Paperback2.indd 1 15/04/2015 22:05 and beyond, giving readers an introduction who admired his grasp of geometry, and to printmaking as an art form and an under- Arthur Melville: 100 Masterpieces: on the other by hippies who claimed him standing of the different working methods Adventures in Colour as the godfather of psychedelic art. Rock National Galleries of Scotland and materials. Through technical summaries Kenneth McConkey and Charlotte stars and teenagers were equally amazed Sir John Leighton and featured examples, The Printmaker’s Art Topsfield by Escher’s ingenuity and imagination, draws on the print and archive collections of yet the art world looked upon him – and 280 X 240MM | 240PP | MAY 2015 the National Galleries of Scotland to illustrate 265 X 245MM | 136PP | OCTOBER 2015 150 COLOUR ILLUSTRATIONS still looks upon him – with reserved and explain the mysteries of relief and intaglio 80 COLOUR ILLUSTRATIONS 978 1 906270 01 8 | £24.95 PAPER printing, lithography, screenprint, photo­ 978 1 906270 87 2 | £18.95 PAPER judgement; in short, his work is ripe for 978 1 906270 73 5 | £35 HARDBACK rediscovery and reappraisal. mechanical and digital processes. Arthur Melville (1855–1904) was arguably Together, the three galleries that make the most innovative and modernist Scottish up the National Galleries of Scotland artist of his generation and one of the finest house one of the finest collections of art British watercolourists of the nineteenth to be found anywhere in the world. Many century. During his lifetime critics were of the greatest names in Western art are compelled to find new ways to describe his represented by major works, from Titian, work; he painted in ‘blobs’ and ‘spots’. Rembrandt and Vermeer through to In this comprehensive survey of Arthur Picasso, Hockney and Warhol. Melville’s career, the artist emerges as The Printmaker’s Art This lavishly illustrated book contains Orientalist, forerunner of the Glasgow 100 of the National Galleries of Scotland’s Boys, painter of modern life and re-inter- preter of the landscape of Scotland. His The Amazing greatest and best-loved treasures. The spectacular watercolours – adventures in World of selection made by the Director-General colour – were inspired by his travels and his M. C. Escher Sir John Leighton evokes the special later works in oils were equally radical and character of the collection, with its ambitious. Opening with a career survey by distinctive interplay between Scottish Kenneth McConkey, this book illustrates and international art, as well as the many over seventy of his works, each with a conversations that it establishes between catalogue entry. the art of the past and the present.

10 11 Selected Backlist Winifred Nicholson in Scotland Botticelli to Braque: Alice Strang Masterpieces from the National Galleries of Scotland 195 X 175MM | 64PP | REPRINTED JULY 2015 28 COLOUR ILLUSTRATIONS Edited by Michael Clarke

john byrne 978 1 906270 90 2 | £9.99 HARDBACK 280 X 225MM | 136PP | NOVEMBER 2014 Throughout her long career, Winifred 72 COLOUR ILLUSTRATIONS sitting ducks THE TO Nicholson (1893–1981) was concerned 978 1 906270 77 3 | £12.95 HARDBACK with capturing light, colour and radiance ROBERTS Sitting Ducks This book highlights fifty-five outstanding in her work and is best known for her masterpieces from the National Galleries sensitive and joyful flower paintings. In of Scotland. The works range in date from 1920 she married and their the Renaissance to the twentieth century Robert mutually influential artistic relationship and include many of the most famous Colquhoun lasted, despite separation, until Winifred’s names in the history of Western art. Artists death in 1981. During the 1950s, Winifred represented include Botticelli, El Greco, & Robert made regular working trips to Scotland, Velázquez, Rembrandt, Van Dyck, Monet, MacBryde often with the poet, Kathleen Raine. They Degas, Sargent and Picasso. In addition, frequently stayed at Sandaig on the west the major figures of the national school, coast and in the Western Isles. This book, Ramsay, Raeburn and Wilkie, lend a based on personal correspondence and distinctly Scottish flavour to this excep- the recollections of relatives, friends and tional selection.­ All of the paintings are painting partners, examines Winifred’s fully illustrated and described in this The Two Roberts: Robert John Byrne: Sitting Ducks love of Scottish landscape and her fascina- catalogue authored by the curatorial staff Colquhoun & Robert MacBryde John Byrne, Gordon Brown tion with the quality of light created by the of the Galleries. ever-changing weather conditions. Patrick Elliott with Adrian Clark and and Julie Lawson

Davy Brown 245 X 200MM | 64PP | JUNE 2014

35 COLOUR ILLUSTRATIONS strang alice 265 X 245MM | 120PP | NOVEMBER 2014 978 1 906270 82 7 | £12.95 PAPER 100 COLOUR ILLUSTRATIONS WINIFRED NICHOLSON IN SCOTLAND WINIFRED NICHOLSON

·

978 1 906270 74 2 | £14.95 PAPER John Byrne is one of Scotland’s most Winifred Nicholson in Scotland IN SCOTLAND Throughout her long career, This is the place after my heart … Robert Colquhoun and Robert MacBryde prolific and accomplishedWinifred Nicholsonartists. was concerned This Not a tree, not a bush. But grey with capturing light, colour and boulders, grey rocks, grey stones, were among the most fascinating and book celebrates his contributionradiance in her work and to is best grey mountains. And bog in known for her sensitive and joyful between – In the bog, lochs with important artists of the post-war period the art of portraiture andflower includes paintings. In  she a waterlilies, and rare ferns that love married Ben Nicholson and their the black peaty soil – The sea full varied selection of drawings,mutually influential paintings artistic rela- of grey mysterious islands and in Britain. Gay, working-class Scots from tionship lasted, despite separation, rocks, seals and seabirds. White

·

until Winifred’s death in . glistening beaches and transparent sco of galleries national Ayrshire, they electrified the London and multimedia works fromDuring the  acrosss, Winifred made his sea all the way across to Eriskay. regular working trips to Scotland, Blue mountains of Barra to the art scene in the 1940s, holding sell-out career. The works illustratedoften with the poet,demon Kathleen - west – and the Cuillins far away Raine. They frequently stayed at snow covered to the south. shows and attracting international strate the brilliant draughtsmanshipSandaig on the west coast and in Winifred Nicholson writing to her son the Western Isles. This book, based Andrew from South Uist in  Botticelli interest. Yet within a decade they were and versatility that he hason personal brought correspondence toand the the to Braque recollections of relatives, friends tland and painting partners, examines penniless and they died all but forgotten. genre. They not only represent some of NATIONAL GALLERIES OF SCOTLAND Masterpieces ISBN 1 903278 40 6 Winifred’s love of Scottish land- ISBN 978 1 906270 90 2 from the Their extraordinary lives have threat- his finest artistic achievements,scape and her fascination butwith the also quality of light created by the ever- National 9 7 8 1 9 0 6 2 7 0 9 0 2 ened to overshadow their art, but this celebrate some of his warmestchanging weather relationconditions. - Galleries of fully illustrated publication brings their ships, being for the most part portraits Scotland work back to centre stage. of his friends and family.

12 13

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

     GENERATION: 25 Years of The Art of Golf Contemporary Art in Scotland Michael Clarke and Edited by Moira Jeffrey Kenneth McConkey

220 X 160MM | JUNE 2014 235 X 195MM | 72PP | JUNE 2014 95 COLOUR ILLUSTRATIONS 60 COLOUR ILLUSTRATIONS 978 1 906270 71 1 GUIDE | 220PP | £4.95 PAPER 978 1 906270 67 4 | £12.95 PAPER 978 1 906270 72 8 READER | 168PP The Art of Golf illustrates how the noble GUIDE AND READER IN SLIPCASE | £14.95 PAPER game has been depicted in European art from the seventeenth century to the present Over the last twenty-five years Scotland day. This fascinating history is told by has had a growing reputation as an images in a variety of media, from paint- international centre of artistic ­innovation ings and prints to photographs and travel and experimentation for the visual arts. posters. The centrepiece is The Golfers, The GENERATION Guide forms the first 1847, by Charles Lees, which depicts a match comprehensive overview of the art of the played on the Old Course at St Andrews period. It includes Turner prize winners Witches & Wicked Bodies American Impressionism: and is considered the greatest of all golfing Douglas Gordon, Simon Starling and paintings. In his essay, Michael Clarke A New Vision 1880–1900 Martin Boyce and 2014 nominees Duncan Deanna Petherbridge outlines the story behind the development Campbell and Ciara Phillips. 220 X 245MM | 128PP | JULY 2013 Katherine M. Bourguignon, of the game while art historian Kenneth The GENERATION Reader, edited by 87 COLOUR ILLUSTRATIONS Frances Fowle and Richard Brettell McConkey discusses the marvellous series Moira Jeffrey, provides the first collection 978 1 906270 55 1 | £ 14.95 PAPER 295 X 245MM | 160PP | MARCH 2014 of paintings of golf at North Berwick and of key documents from the period including NATIONAL GALLERIES OF SCOTLAND IN 120 COLOUR ILLUSTRATIONS its environs made by Sir John Lavery in the essays, critical writing and artists’ own ASSOCIATION WITH THE BRITISH MUSEUM, 978 0 300 206104 | £20 PAPER years following the Great War. LONDON texts, and offers a guide to the ideas, events PUBLISHED BY THE NATIONAL GALLERIES OF and debates that shaped a generation. Witches & Wicked Bodies provides an innov­ SCOTLAND AND HAZAN, FRANCE ative, rich survey of images of European TRADE ENQUIRIES YALE UNIVERSITY PRESS witchcraft, from the fifteenth century to the The story of American Impressionism The Ar T present day. It focuses on the representation begins with Mary Cassatt and John Singer of Golf of women and the enduring stereotypes they Sargent, who worked alongside their

embody, ranging from hideous old crones to French colleagues and helped shape the Clarke and McConkey beautiful young seductresses. Such imagery avant-garde trends of their time. Along has ancient precedents and has been repeat- with other American artists less familiar edly re-invented by artists over the centuries. to European audiences, such as William Deanna Petherbridge introduces this Merritt Chase, Childe Hassam, Edmund fascinating subject and includes insightful Tarbell and John Henry Twachtman, they catalogue entries on each of the exhibited were highly trained, cosmopolitan painters works; the works primarily consist of draw- who sought inspiration both at home ings and prints as well as a group of important and abroad. Through several insightful paintings, all from British collections. A wide essays American Impressionism offers a range of artists are represented including fresh exploration of the beginning of an Dürer, Cranach, Goya, Fuseli, Blake, Burra, American engagement with Impressionism Sherman and Rego. on both sides of the Atlantic.

14 15 J.D. Fergusson Joan Eardley Alice Strang, Elizabeth Cumming Fiona Pearson with an essay by and Sheila McGregor Sara Stevenson

265 X 245MM | 128PP | NOVEMBER 2013 265 X 245MM | 96PP | REPRINTED 2014 100 COLOUR ILLUSTRATIONS 100 ILLUSTRATIONS 978 1 906270 62 9 | £14.95 PAPER 978 1 906270 76 6 | £14.95 PAPER

Mr Fergusson is the most stimulating Joan Eardley was one of the best and intriguing of this group of modern loved Scottish artists of the twentieth Scotsmen – so wrote the art critic century. Her observations of children P.G. Konody about J.D. Fergusson, one of in the back streets of Glasgow as well as the four artists collectively known as ‘the her expressionistic drawings and oils Scottish Colourists’. of the elements on the north-east coast Fergusson is most celebrated for of Scotland have caught the imagina- depictions of the female form, but he also tion of the Scottish public. Eardley is painted landscapes in England, France and cherished as a painter of the Scottish Scotland that were of great significance identity in both town and country, and exhibited sculptures for over thirty who had a unique ability to sum up a John Bellany years. On the outbreak of the Second World community and the timeless drama of Keith Hartley with Alexander Moffat, War, he settled in Glasgow, where he did the natural world. This book examines From Death to Death and other John McEwan and Paul Bellany much to galvanise the Scottish arts scene. Eardley’s oeuvre and its place in the Small Tales: Masterpieces This book includes essays which international and British context. It 265 X 245MM | 112PP | AUGUST 2012 from the Scottish National offer a fascinating new insight into a includes paintings and drawings from 88 COLOUR ILLUSTRATIONS 978 1 906270 52 0 | £ 14.95 PAPER Gallery of Modern Art and the Scottish artist of international standing, private collections and works from D.Daskalopoulos Collection and reasserts­ his place as a key figure in the collection of the Scottish National John Bellany helped change the course twentieth-century­ art. Gallery of Modern Art. of painting in Scotland. His intensely felt Keith Hartley, Lucy Askew and images of fisherfolk and their precarious Richard Flood life at sea were a direct challenge to the 265 X 215MM | 152PP | MARCH 2013 much diluted Scottish Colourist tradition 100 COLOUR ILLUSTRATIONS and were at odds with the decorative, 978 1 906270 57 5 | £ 19.95 HARDBACK JOAN EARDLEY ­drawing-room pictures of much contem- This book brings together works from por­ary Scottish painting in the 1960s. one of the most important private This book illustrates works from the collections of modern and contemporary key periods of the artist’s career. Beginning art, the D.Daskalopoulos Collection, with with the celebrated, large-scale paintings key pieces from the Scottish National of fishermen and their boats from the Gallery of Modern Art. Providing a mid-1960s; through the darker, harrowing new context for both collections, it pictures of the early 1970s and 1980s which specifically focuses on the theme of the seem to explode and disintegrate as Bellany body, investigating the many and varied battled with his inner demons; to the approaches that artists have taken richly-coloured allegorical paintings that across several decades when dealing the artist produced latterly, which show a with this most fundamental of subjects. renewed vigour and optimism.

16 17 EDITION

NEW

Scottish National Portrait Gallery Guide

Gallery Guides

Scottish National Portrait illustrated guide to the collection; it is an A Companion Guide to the A Companion Guide to Photography Gallery Guide important visual record of Scottish history Scottish National Gallery in the National Galleries of Scotland 235 X 165MM | 208PP | 2014 and achievement. 245 X 165MM | 224PP | REPRINTED 2013 245 X 165MM | 224PP | REVISED 2009 185 COLOUR ILLUSTRATIONS 220 COLOUR ILLUSTRATIONS 220 COLOUR ILLUSTRATIONS 978 1 906270 65 0 | £9.99 PAPER A Companion Guide to the Scottish 978 1 903278 11 6 | £12.95 PAPER 978 1 906270 20 9 | £9.99 PAPER National Gallery of Modern Art Portraits have an immediate, visceral The Scottish National Gallery is widely Scotland has been the centre of the history 245 X 165MM | 224PP | REPRINTED 2010 appeal as images that provide insights regarded as one of the finest small and development of photography since 250 COLOUR ILLUSTRATIONS into the lives and ambitions of people galleries in the world. Not only does it the 1840s. The Scottish National Portrait 978 0 903598 84 2 | £9.99 PAPER we are curious about: the great, the contain the most comprehensive collec- Gallery and the Scottish National Gallery good, the notorious and sometimes Founded in 1960, the Scottish National tion of Scottish masterpieces, but its of Modern Art hold outstanding collec- the unknown. The Scottish National Gallery of Modern Art in Edinburgh collection includes works by the greatest tions of photographic art spanning three Portrait Gallery houses an outstanding already boasts an outstanding collection names in Western art. This in-depth look centuries. This book offers a wide-ranging collection, which encompasses all of of modern and contemporary art. More at the collection provides readers with guide to the collection and is a useful these, and allows you to discover the than 230 of the finest paintings, sculptures, an engaging and informative account of introduction to the history of photography. figures that forged Scotland’s history. prints and drawings are illustrated here the . It also provides an insight into devel- in colour, alongside descriptions of each opments in the overlapping spheres of work. The book offers a detailed guide to art, biography, fashion, patronage, fame the collection as well as an accessible and and celebrity. This book is more than an informative introduction to modern art.

18 19 Watson Gordon Lecture Series THE WATSON GORDON LECTURE 2011 Forthcoming Faces in a Library: Sir Joshua Reynolds’s THE WATSON GORDON LECTURE 2015 ‘Streatham Worthies’ From the Masterpieces to Rooms Mark Hallett Full of Art – and Back? 215 X 165MM | 48PP | 2012 | 19 ILLUSTRATIONS 978 1 906270 56 8 | £ 7.95 HARDBACK Robert Storr

THE WATSON GORDON LECTURE 2010 215 X 165 MM | 48PP | NOVEMBER 2016 the watson gordon lecture 2013 ‘Studying Nature as a Hunter, a Savage’: ‘The Hardest Kind of Archetype’: 20 COLOUR ILLUSTRATIONS Vincent van Gogh and Karl Bodmer 978 1 911054 01 6 | £7.95 HARDBACK RICHARD KENDALL Reflections on Roy Lichtenstein Hal Foster With vivid memories of his first visit national galleries of scotland & the university of edinburgh 215 X 165MM | 48PP | 2011 | 19 ILLUSTRATIONS to the Scottish National Gallery in 978 1 906270 38 4 | £ 7.95 HARDBACK the 1970s and his initial encounter THE WATSON GORDON LECTURE 2009 with Hugo van der Goes’s The Trinity The Renaissance Image Unveiled: Altarpiece, Rembrandt’s A Woman in From to Venus Bed, Velázquez’s An Old Woman Cooking Paul Hills Eggs and Degas’s Diego Martelli, Robert 215 X 165MM | 48PP | 2010 | 19 ILLUSTRATIONS Storr discusses the shifting balance of 978 1 906270 34 6 | £ 7.95 HARDBACK museum collections from historically THE WATSON GORDON LECTURE 2008 ‘certified’ classics to art whose status and Picasso’s ‘Toys for Adults’: significance remains in active conten- as Surrealism tion and from singular ‘treasures’ to Neil Cox ensembles that speak to the larger scope 215 X 165MM | 48PP | 2009 | 20 ILLUSTRATIONS of an artist’s endeavour. 978 1 906270 26 1 | £ 7.95 HARDBACK Robert Storr is an artist, curator and

THE WATSON GORDON LECTURE 2007 critic and is currently Dean of the Yale Sound, Silence and Modernity in Dutch School of Art. Established in 2006 following the Previously published Pictures of Manners

125th anniversary of the foundation of the watson lecture gordon THE WATSON GORDON LECTURE 2014 Mariët Westermann the Chair of Fine Art at the University Unfinished Paintings: Narratives 215 X 165MM | 32PP | 2008 | 17 ILLUSTRATIONS of Edinburgh and named after the of the Non Finito 978 1 906270 25 4 | £ 7.95 HARDBACK

painter Sir John Watson Gordon, the David Bomford THE WATSON GORDON LECTURE 2006

Watson Gordon Lectures typify the 215 X 165MM | 48PP | OCTOBER 2015 Roger Fry’s Journey:the watson From gordon lecturethe 2015 david bomford · unfinished paintings: the watson gordon lecture 2015 20 COLOUR ILLUSTRATIONS Unfinished Paintings: narratives of the non finito · 2014 long-standing and positive collab- Narratives of the Non Finito 978 1 906270 91 9 | £7.95 HARDBACK Primitives to the Post-Impressionists From the Masterpieces to Established following the 125th anniversary of the foundation of the Chair of Fine Art at the University of Edinburgh and named after the Rooms Full of Art – and Back? oration between the University of Caroline Elam painter Sir John Watson Gordon, the Watson Gordon Lectures typify the longstanding and positive collaboration between the University ROBERT STORR THE WATSON GORDON LECTURE 2013 215 X 165MM | 48PP | 2007of Edinburgh| 18 ILLUSTRATIONS and the National Galleries of Scotland. This lecture was Edinburgh and the National Galleries given by David Bomford, Director of Conservation, Museum of Fine 978 1 906270 11 7 | £ 7.95 HARDBACKArts, Houston. Unfinished paintings can be seen in many of the world’s ‘Studying Nature as a Hunter, a Savage’: great collections: they fascinate the viewer and raise intriguing questions. of Scotland: two partners in the Visual isbn 978 1 906270 91 9 What do they tell us about the way that painters worked? How do we define ‘finish’, and when did an artist consider a work to be finished? Vincent van Gogh and Karl Bodmer These and other questions are considered by David Bomford in an national galleries of scotland Arts Research Institute in Edinburgh. 9 7 8 1 9 0 6 2 7 0 9 1 9 exploration of the non finito from the Renaissance to the 20th century. & the university of edinburgh Richard Kendall Each lecture is by a leading scholar national of scotland galleries 215 X 165MM | 48PP | 2014 | 21 ILLUSTRATIONS and reveals new research on a focused 978 1 906270 83 4 | £ 7.95 HARDBACK topic. The lectures are delivered and published annually, and now number nine titles in the series.

20 21 Expanding Horizons: Douglas Gordon: The Naked Portrait: Portrait Miniatures from The Scottish Colourists: Selected Giovanni Battista Lusieri Superhumanatural 1900 to 2007 the National Galleries of 1900–1930 and the Panoramic Keith Hartley, Holger Broeker, Martin Hammer Scotland Philip Long and Backlist Landscape Jaroslav Anděl, Ian Rankin and 265 X 245MM | 152PP | 2007 Stephen Lloyd Elizabeth Cumming 150 COLOUR ILLUSTRATIONS Aidan Weston-Lewis et al. Michael Fried 165 X 155MM | 112PP | 2004 300 X 245MM | 152PP | 2000 978 1 903278 95 6 | £19.95 PAPER 144 COLOUR ILLUSTRATIONS 240 X 295MM | 236PP | 2012 300 X 165MM | 144PP | 2006 124 ILLUSTRATIONS Another World: Dalí, IN ASSOCIATION WITH COMPTON 978 1 903278 04 8 | £14.95 HARDBACK 180 COLOUR ILLUSTRATIONS 75 COLOUR ILLUSTRATIONS 1 903278 51 1 | £9.95 PAPER Magritte, Miró and the VERNEY, WARWICKSHIRE 978 1 906270 46 9 | £29.95 HARDBACK 1 903278 85 6 | £12.95 PAPER Surrealists Portrait of the Nation: The Nation // Live: Work / The Face of Scotland: An Introduction to the Patrick Elliott Union/Faith/Civil War/ Masterpieces from the Scottish National Portrait 245 X 165MM | 176PP | 2010 Roots 160 ILLUSTRATIONS Scottish National Gallery 978 1 906270 30 8 | £12.95 PAPER Robin Baillie and Catriona Portrait Gallery James Holloway et al. MacDonald Elizabeth Blackadder James Holloway 245 X 220MM | 96PP | 2011 265 X 265MM | 44PP | 2013 X 110 ILLUSTRATIONS 167 245MM | 48PP | 2009 48 COLOUR ILLUSTRATIONS Philip Long and John Leighton 978 1 906270 37 7 | £6.95 PAPER 42 COLOUR ILLUSTRATIONS 978 1 906270 15 5 | £9.99 HARDBACK 265 X 245MM | 112PP | 2011 978 1 906270 23 0 | £7.95 PAPER £18 HARDBACK WITH LP 94 COLOUR ILLUSTRATIONS 978 1 906270 39 1 | £14.95 PAPER Gauguin’s Vision Belinda Thomson with Frances A Shepherd’s Life: Paintings Fowle and Lesley Stevenson A History of the Scottish of Jenny Armstrong by 265 X 250MM | 144PP | 2005 National Portrait Gallery 140 COLOUR ILLUSTRATIONS Victoria Crowe 1 903278 68 6 | £19.95 PAPER Duncan Thomson Julie Lawson and Mary

TIN BAILEY · NA O D N A L COT S F O S E I R E L L A G L A N O I AT N · Y E L T I I A R B B N D I N RT A A M H G O G N VA 250 X 195MM | 176PP | 2011 Taubman 142 ILLUSTRATIONS 195 X 175MM | 62PP | REPRINTED 978 1 906270 48 3 | £ 19.95 2013 OLLECT S R TO C E L L CO R E E N O I P · N I A HARDBACK 25 COLOUR ILLUSTRATIONS VAN GOGH AND BRITAIN 1 903278 02 3 | £9.95 HARDBACK PIONEER COLLECTORS Impressionism & Scotland S.J. Peploe Phoebe Anna Traquair VAN GOGH AND BRITAIN PIONEER COLLECTORS Frances Fowle with contribu- Vincent van Gogh has become one of the best known and best loved artists in the history Louise Bourgeois:of art, but he is said to have sold onlyA a single painting Woman in his entire life. An extraordinary figure, whose art and life were inextricably and tragically intertwined, he is seen by many Poussin to Seurat: Elizabeth Cumming as the archetypal misunderstood, tormented genius. Astonishingly, he was only active as tions by Vivien Hamilton and Alice Strang, Elizabeth an artist for some ten years during which time his style changed dramatically. In his own without Secretsday, he remained relatively unacknowledged outside a small circle of admirers, his cause not helped by his difficult and unpredictable character. French Drawings from 240 X 165MM | 96PP | REVISED 2011 NATIONAL GALLERIES This book examines the fascinating story of how Van Gogh’s work gradually came to be Jennifer Melville Cumming and Frances Fowle OF SCOTLAND appreciated and collected in Britain – a country in which he lived, albeit unhappily, from ISBN 1 903278 77 5 1873 to 1875, whose language he spoke and wrote fluently, and whose literature he greatly 61 COLOUR ILLUSTRATIONS Anthony d’Offayadmired. In focusingand on this early taste for theLucy artist, the book uncovers importantAskew new, the National Gallery of and unpublished, research on the early collectors and on the British interest in Van Gogh. 265 X 245MM | 160PP | 2008 with a preface by Guy Peploe 1 903278 65 1 | £12.95 PAPER 265 X 215MM | 104PP | 2013 178 ILLUSTRATIONS 265 X 245MM | 112PP | 2013 Scotland 100 COLOUR ILLUSTRATIONS 978 1 906270 07 0 | £14.95 PAPER 88 COLOUR ILLUSTRATIONS J.M.W. Turner: 978 1 906270 17 9 | £14.95 HARDBACK Van Gogh and Britain: IN ASSOCIATION WITH CULTURE & 978 1 906270 51 3 | £ 14.95 PAPER Michael Clarke The Vaughan Bequest Pioneer Collectors SPORT, GLASGOW 300 X 240MM | 136PP | 2010

PICASSO PICASSO Alan Davie: Work in the 95 ILLUSTRATIONS Christopher Baker Scottish National Gallery of Martin Bailey with an essay by Inspired? Get Writing! 978 1 906270 31 5 | £14.95 PAPER 220 X 245MM | 120PP | 2006 Modern Art Frances Fowle Vol. I V 60 COLOUR ILLUSTRATIONS 265 X 245MM | 144PP | 2006 Carol Rhodes 978 1903278 89 5 | £9.95 PAPER

Patrick Elliott Various authors PAPER ON 62 COLOUR ILLUSTRATIONS Tom Lubbock and Merlin 300 X 245MM | 104PP | 2000 1 903278 77 5 | £14.95 PAPER 245 X 215MM | 72PP | 2013 Benjamin West & 30 COLOUR ILLUSTRATIONS James 70 COLOUR ILLUSTRATIONS IN ASSOCIATION WITH COMPTON The Death of the Stag: 978 1 903278 13 0 | £14.95 PAPER VERNEY, WARWICKSHIRE 978 1 906270 64 3 | £9.95 PAPER X 235 300MM | 96PP | 2007 The Story Behind 47 COLOUR ILLUSTRATIONS

1 English Drawings & Van Gogh’s Twin: Monet and French 978 1 906270 05 6 | £7.50 PAPER the Painting and its Watercolours 1600–1900 The Scottish Art Dealer Landscape: Vétheuil and Conservation Normandy Rough Cut Nation Christopher Baker Alexander Reid 1854–1928 Picasso on Paper Timothy Clifford, Michael 295 X 245MM | 464PP | 2011 Frances Fowle Edited by Frances Fowle Patrick Elliott Richie Cumming Gallagher and Helen Smailes 450 COLOUR ILLUSTRATIONS 250 X 195MM | 180PP | 2010 245 X 165MM | 176PP | 2008 220 X 245MM | 144PP | 2007 210 X 210MM | 40PP | 2011 244 X 210MM | 32PP | 2009 978 1 906270 35 3 92 ILLUSTRATIONS 47 ILLUSTRATIONS 92 COLOUR ILLUSTRATIONS 50 COLOUR ILLUSTRATIONS 28 ILLUSTRATIONS SPECIAL PRICE £20 | HARDBACK 978 1 906270 29 2 | £19.95 HARDBACK 978 1 903278 91 0 | £35 HARDBACK 978 1 903278 87 1 | £14.95 PAPER 978 1 906270 47 6 | £9.95 PAPER 978 1 906270 12 4 | £7.95 PAPER

22 23 NGS Publishing Scottish National Gallery of Modern Art 75 Belford Road Edinburgh EH4 3DR Scotland Telephone: +44 (0)131 624 6269 Fax: +44 (0)131 623 7135 Email: [email protected]

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Front cover: René Magritte, Le Modèle rouge III, 1937 (detail) Oil on canvas, 206 x 158 cm Museum Boijmans Van Beuningen, Rotterdam © ADAGP, Paris and DACS, London 2016, photo: Studio Buitenhof, The Hague Page 2: Joan Eardley, Hedgerow with Grasses and Flowers, c.1962–3 (detail) Scottish National Gallery of Modern Art, Edinburgh © Estate of Joan Eardley. All Rights Reserved, DACS 2016

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