DOCSLIB.ORG

Annual Review 2012–2013 the National Galleries of Scotland Cares For, Develops, Researches and Displays the National Collection of Scottish

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Review 2012–2013 the National Galleries of Scotland Cares For, Develops, Researches and Displays the National Collection of Scottish Annual Review 2012–2013 The National Galleries of Scotland 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 National Gallery Scottish National Portrait Gallery Scottish National Gallery with a lively and innovative The Scottish National Gallery comprises The Scottish National Portrait Gallery of Modern Art 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 Edinburgh. 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 Modern Two. The early the national collection of Scottish art 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 Royal Scottish Academy 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 2012–2013 3 Foreword 5 A World-Class Programme 8 ARTIST ROOMS 11 A Sustainable Future 13 Publications and Research 17 Learning, Inspiration and © National Galleries of Scotland © National Galleries of Scotland © National Galleries of Scotland Opportunities for the Young Scottish National Gallery Duff House Paxton House 22 Partnership 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 25 Building Great Collections programme of world-class exhibitions, from the National Galleries of Scotland’s from the National Galleries of Scotland’s 30 ARTIST ROOMS Gifts and Loans and displays from the Gallery’s world- permanent collection. It is a treasure permanent collection. Built to the design 33 The First Year of the Portrait Gallery famous Surrealist collection. It also house and cultural arts centre with a of John Adam in 1758 by Patrick Home houses a fascinating re-creation of stunning permanent collection operated of Billie for his intended bride, Sophie de 35 Supporters Eduardo Paolozzi’s studio. On display by a unique partnership of the National Bandt, Paxton House is one of the finest 37 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 library and archive, open to the public by appointment. Front and back cover Detail from In the Orchard, 1886 by Sir James Guthrie Opposite Detail from Prague Easter, 1992 The National Galleries of Scotland by John Bellany. © Courtesy of the Estate of the Artist/Bridgeman Art Library 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 Foreword international context. Welcome to this review of the National Galleries of Scotland Our major outreach initiative, The Nation//Live, has seen us (NGS) for the period from April 2012 to March 2013. With a working with communities all over Scotland addressing crucial record number of visitors (1,554,689 in 2012–13), we are pleased turning points in the nation’s history. to be able to report on another highly successful year, marked The ARTIST ROOMS touring programme celebrates its five- by a rich and varied programme of exhibitions, research and year anniversary in 2013. Established through the outstanding educational activities. generosity of Anthony d’Offay and jointly owned with Tate, There are many highlights to look back on. Two major this great collection is now central to our partnership activity. exhibitions, Picasso and Modern British Art and Van Gogh The collection continues to grow, thanks to the generosity of to Kandinsky: Symbolist Landscape in Europe 1880–1910, supporters, donors and the artists themselves.Partnership is a dominated our summer programme and both were successful key theme in the new national strategy for Scotland’s museums with the public and critics alike. In the autumn of 2012 we launched in 2012 and ARTIST ROOMS is a superb example of the were especially pleased to honour one of Scotland’s greatest benefits of a collaborative approach. painters, John Bellany, with a major retrospective to celebrate As we contemplate the future, the economic, political and his seventieth birthday. His death (on 28 August 2013) deprives social context for our activities will certainly be lively and chal- us of a massive talent but his art will remain an inspiration to lenging. We continue working to adapt to the difficult realities artists long into the future. of the present financial climate but we remain determined to The Scottish National Portrait Gallery has enjoyed a keep our ambitions high. In addition to our normal activities successful first year of operation since it reopened to the public we have bold plans for 2014, including a national programme, in December 2011. Our visitors have enjoyed rediscovering the GENERATION, celebrating the last twenty-five years of contem- extraordinary collections in imaginative new displays while porary art in Scotland. Looking further ahead, we are already the refurbishment has attracted numerous awards. A royal visit planning the next phase of investment in our estates, focusing by Her Majesty the Queen and His Royal Highness, the Duke on the Scottish National Gallery and a potential new facility for of Edinburgh in July 2012 formally launched this exciting new the care of our collections. phase in the history of the Portrait Gallery, which now takes its In all our work we are fortunate to enjoy tremendous rightful place as one of the country’s leading cultural attractions. backing from many sponsors, patrons and donors. We acknowl- Over the years, NGS has developed an international edge gratefully the support of our main sponsor, the Scottish reputation for its enterprising additions to the collections and Government, and the enthusiasm with which the Cabinet our staff are very successful in encouraging gifts, bequests and Secretary for Culture and External Affairs, Fiona Hyslop, and loans to enhance the displays. We have pioneered creative part- her team have helped us to deliver our strategy. nerships in acquisitions and this review highlights our first joint We would like to pay an enormous tribute to the hard work acquisition with Glasgow Museums: a major work by one of the and dedication of our Trustees and staff. We are also thankful Glasgow Boys, Sir James Guthrie’s In the Orchard. We note with that we enjoy huge support from our volunteers, Friends, immense gratitude one of the most significant gifts in the recent Patrons and American Patrons. history of NGS, the Henry and Sula Walton Bequest. Henry The impact of the NGS can be measured in many ways, from and Sula are greatly missed but their flair and imagination our significant contribution to the Scottish economy through to will continue to enrich our lives, not just through the bequest the social and educational benefits that we offer. But as Fiona of their superb, wide-ranging collection but also through the Hyslop has observed in a recent speech, the true value of culture establishment of a fund that will be used to purchase works at is ‘profound and priceless’, enriching people’s lives in immeas- the Scottish National Gallery of Modern Art. urable ways. At NGS we will continue to encourage creativity, Education remains at the heart of what we do and we are innovation and artistic excellence, as well as providing a show- especially committed to reaching out to young people across case for the very best art in Scotland. all our activities. There was a record number of entries to our Ben Thomson Sir John Leighton annual Art Competition for Schools, sponsored by Tesco Bank. Chairman Director-General 3 Our public programme Opposite Nude Woman in a Red Armchair, 1932 by Pablo Picasso, Tate, London. © combines the display of Succession Picasso/DACS, London 2013. the permanent collection Photo © Tate, London 2013 with a series of temporary exhibitions and displays, alongside a dynamic programme of education activities and events. A World-Class Programme SCOTTISH NATIONAL GALLERY and a meticulous, almost photographic attention to detail. He was widely Van Gogh to Kandinsky: Symbolist acclaimed as one of the most accom- Landscape in Europe 1880–1910 plished landscape artists of his day, and 14 July to 14 October 2012 his works were eagerly sought by British Sponsored by BNY Mellon Grand Tourists. However, after his death he was soon forgotten, and only recently This major exhibition was the first have his exceptional gifts and historical dedicated to symbolist landscape and importance begun to be recognised once the movement that developed after again.
Load more

Recommended publications
  • Edinburgh PDF Map Citywide Website Small
    EDINBURGH North One grid square on the map represents approximately Citywide 30 minutes walk. WATER R EAK B W R U R TE H O A A B W R R AK B A E O R B U H R N R U V O O B I T R E N A W A H R R N G Y E A T E S W W E D V A O DRI R HESP B BOUR S R E W A R U H U H S R N C E A ER R P R T O B S S S E SW E O W H U A R Y R E T P L A HE B A C D E To find out more To travel around Other maps SP ERU W S C Royal Forth K T R OS A E S D WA E OA E Y PORT OF LEITH R Yacht Club R E E R R B C O T H A S S ST N L W E T P R U E N while you are in the Edinburgh and go are available to N T E E T GRANTON S S V V A I E A E R H HARBOUR H C D W R E W A N E V ST H N A I city centre: further afield: download: R S BO AND U P R CH RO IP AD O E ROYAL YACHT BRITANNIA L R IMPERIAL DOCK R Gypsy Brae O A Recreation Ground NEWHAVEN D E HARBOUR D Debenhams A NUE TON ROAD N AVE AN A ONT R M PL RFR G PIE EL SI L ES ATE T R PLA V ER WES W S LOWE CE R KNO E R G O RAN S G T E 12 D W R ON D A A NEWHAVEN MAIN RO N AD STREET R Ocean R E TO RIN K RO IV O G N T IT BAN E SH Granton RA R Y TAR T NT O C R S Victoria Terminal S O A ES O E N D E Silverknowes Crescent VIE OCEAN DRIV C W W Primary School E Starbank A N Golf Course D Park B LIN R OSWALL R D IV DRI 12 OAD Park SA E RINE VE CENT 13 L Y A ES P A M N CR RIMR R O O V O RAN T SE BA NEWHAVEN A G E NK RO D AD R C ALE O Forthquarter Park R RNV PORT OF LEITH & A O CK WTH 14 ALBERT DOCK I HA THE SHORE G B P GRANTON H D A A I O LT A Come aboard a floating royal N R W N L O T O O B K D L A W T A O C O R residence or visit the dockside bars Scottish N R N T A N R E E R R Y R S SC I E A EST E D L G W N O R D T D O N N C D D and bistros; steeped in maritime S A L A T E A E I S I A A Government DRI Edinburgh College I A A M K W R L D T P E R R O D PA L O Y D history and strong local identity.
    [Show full text]
  • Jim Lambie Education Solo Exhibitions & Projects
    FUNCTIONAL OBJECTS BY CONTEMPORARY ARTISTS ! ! ! ! !JIM LAMBIE Born in Glasgow, Scotland, 1964 !Lives and works in Glasgow ! !EDUCATION !1980 Glasgow School of Art, BA (Hons) Fine Art ! !SOLO EXHIBITIONS & PROJECTS 2015 Anton Kern Gallery, New York, NY (forthcoming) Zero Concerto, Roslyn Oxley9 Gallery, Sydney, Australia Sun Rise, Sun Ra, Sun Set, Rat Hole Gallery, Tokyo, Japan 2014 Answer Machine, Sadie Coles HQ, London, UK The Fruitmarket Gallery, Edinburgh, Scotland 2013 The Flowers of Romance, Pearl Lam Galleries, Hong Kong! 2012 Shaved Ice, The Modern Institute, Glasgow, Scotland Metal Box, Gerhardsen Gerner, Berlin, Germany you drunken me – Jim Lambie in collaboration with Richard Hell, Arch Six, Glasgow, Scotland Everything Louder Than Everything Else, Franco Noero Gallery, Torino, Italy 2011 Spiritualized, Anton Kern Gallery, New York, NY Beach Boy, Pier Art Centre, Orkney, Scotland Goss-Michael Foundation, Dallas, TX 2010 Boyzilian, Galerie Patrick Seguin, Paris, France Jupiter Artland, Edinburgh, Scotland Metal Urbain, The Modern Institute, Glasgow, Scotland! 2009 Atelier Hermes, Seoul, South Korea ! Jim Lambie: Selected works 1996- 2006, Charles Riva Collection, Brussels, Belgium Television, Sadie Coles HQ, London, UK 2008 RSVP: Jim Lambie, Museum of Fine Arts, Boston, MA ! Festival Secret Afair, Inverleith House, Ediburgh, Scotland Forever Changes, Glasgow Museum of Modern Art, Glasgow, Scotland Rowche Rumble, c/o Atle Gerhardsen, Berlin, Germany Eight Miles High, ACCA, Melbourne, Australia Unknown Pleasures, Hara Museum of
    [Show full text]
  • Information Correct at Time of Issue See
    NAME LOCATION DESCRIPTION NOTES PLAN YOUR VISIT / BOOK Pre-booking required Craigmillar Castle Edinburgh Medieval castle Till 31st Oct: open daily, 10am to 4pm Book here Winter opening times to be confirmed. Pre-booking required. Some glasshouses closed. Royal Botanic Garden Edinburgh Edinburgh Gardens Book here Free admission Castle closed. Free entry to the grounds (open daily 08.00- Lauriston Castle Edinburgh 16th-century tower house Walk-in 19.00) and Mimi's Cafe on site. Royal Yacht Britannia Edinburgh Attraction - former royal yacht Pre-booking recommended. Book here Shop is open Tours have been put on hold for the time being due to Edinburgh Gin Distillery Edinburgh Gin distillery tours restrictions in force from 9th Oct, and can't be booked - until further notice. Wee Wonders Online Tasting available instead. Pre-booking recommended. Currently open Thu-Mon Georgian House Edinburgh New Town House Book here 1st - 29th Nov: open Sat-Sun, 10am-4pm 30th Nov- 28th Feb: closed Edinburgh Castle Edinburgh Main castle in Edinburgh Pre-booking required. Book here Real Mary King's Close Edinburgh Underground tour Pre-booking required. Book here Our Dynamic Earth Edinburgh Earth Science Centre Pre-booking required. Open weekends in October only. Book here Edinburgh Dungeon Edinburgh Underground attraction Pre-booking required. Book here Pre-booking recommended. The camera show is not Camera Obscura Edinburgh World of Illusions - rooftop view running at the moment - admission price 10% lower to Book here reflect this. Palace of Holyroodhouse Edinburgh Royal Palace Pre-booking recommended. Open Thu-Mon. Book here Pre-booking required. Whisky is not consumed within Scotch Whisky Experience Edinburgh Whisky tours the premises for now, instead it's given at the end of Book here the tours to take away.
    [Show full text]
  • Ursula Bevan Hunter Printmaker, Illustrator Community Arts Educator Mobile: 07977 072 537 Email: [email protected]
    Ursula Bevan Hunter Printmaker, Illustrator Community arts educator www.littleaxe.co.uk Mobile: 07977 072 537 Email: [email protected] Education 2012 – 2013 Edinburgh College of Art MA Illustration with Distinction 1994 - 1996 Brighton University Post Grad Dip: Printmaking 1989 – 1993 Glasgow School of Art BA (hons): Fine Art Employment 2015 – July 2020 Part-time sculpture workshop programmer and administrator Powderhall Bronze, Edinburgh (3 days per week) 2016 - 2020 Website and graphic communication for artist Kenny Hunter 2006 –2008 Residency Coordinator, Cove Park, Argyll and Bute 1997 – 2005 Project Ability - Art Centre Technician and Tutor Commissions 2020 Artworks for the New Satellite Dialysis Unit, Western General Hospital, Edinburgh and Lothians Health Foundation 2019/20 32 Illustrations for ‘An Illustrated guide to managing Institutions of Higher Education’ publication 2018 ‘North Star’ wallpaper for The Isobel Wylie Hutchison Collection at Carlowrie Castle, Edinburgh with Craft Design House 2017 ‘Riverbank’ Linoprint repeat for Oscha Slings, Midlothian 2016/17 ‘Lombardia’ new print collection for table linens, Italian client 2016 ‘Spice Routes’ Wallpaper , for The Seafood Bar at Luss 2015 34 Linoprinted Panels for Beacon commissioned by GINKO, The Queen Elizabeth University Hospital Glasgow 2014 Printed Textile Banners, St.Ninians primary for the Arts & Business Scotland Awards 2014 Art Park Logo design, The House for an Art Lover, Bellahouston Park, Glasgow 2013 Institut Francais, Ecosse, Poster Design for Scottish Schools
    [Show full text]
  • Monumental Guidebooks 'In State Care' R W Munro*
    Proc Soc Antiq Scot, 115 (1985), 3-14 Monumental guidebooks 'in State care' R W Munro* SUMMARY A new series of guidebooks to Scottish monuments in State care is being produced by the Historic Buildings and Monuments Directorate of the Scottish Development Department. The origin and progress Government-sponsoredof guidebooks Scotlandin consideredare chiefly from pointthe of view of the non-expert user or casual visitor. INTRODUCTION Five years is not a long time in the history of an ancient monument, but in that period there has bee transformationa whicy b y h visitorwa e th n historii o st Governmencn i sitew sno t car helpee ear d to understand what they see. A new series of guidebooks and guide-leaflets is part of the continuing proces f improveo s d 'presentation' whic bees hha n carrie t ove yeare dou th r s successivelM H y yb Office of Works, the Ministry of Works (later of Public Building and Works), the Department of the Environment finallSecretare d th an , y yb Statf yo Scotlanr efo d acting throug Scottise hth h Develop- ment Department. One does not need to be particularly 'ancient' to have seen that rather bewildering procession of office, ministr departmend yan t pas rapin si d order acros bureaucratie sth c stage. Only since 197s 8ha the Scottish ful e Officlth responsibilitd eha y for wha bees tha n called 'our monumental heritagea '- useful blanket term which appears to cover the definitions of 'monument' and 'ancient monument' enshrined in the Ancient Monuments and Archaeological Areas Act of 1979 (Maclvor & Fawcett 1983, 20).
    [Show full text]
  • Mainstreaming the Equality Act Progress Report on the Delivery of The
    Mainstreaming the Equality Act Progress report on the delivery of the aims of the general duty of the Equality Act 2010 National Museums Scotland 2017 Published 28 April 2017 1 Welcome National Museums Scotland’s vision sets out our aspiration: “…Inspiring people, connecting Scotland to the world and the world to Scotland.” Visitors are at the heart of our work and ensuring all our visitors have an opportunity to engage with our collections; participate in our learning programmes and enjoy their experience is a responsibility to which we attach great importance. We are proud that our commitment has been reflected in our proven track record of providing wider access. Our service is realised through guiding strategies and policies and brought to life by the creativity, commitment and talent of our workforce, both paid and voluntary. I thank them all for their contribution to our visitor and stakeholder experiences. To build on our success we continue to lead and develop our staff and volunteers to realise their potential and the potential of National Museums Scotland. This is our third Mainstreaming Report and it outlines our approach to embedding equality and diversity in our day-to-day work, whilst harnessing the step changes made by some specific projects in relation to community engagement, digital access and capital project work in terms of access and engagement with our collections, and participation with our programmes. This report concludes the reporting period of our Equalities Outcomes 2013-2017 and the actions and activities we set ourselves four years ago. It shows how far we have come in terms of mainstreaming our equalities work within our processes and culture; provides reflection on recent consultation feedback and organisational data, and proposes our future Equalities Outcomes priorities for the period 2017-2021.
    [Show full text]
  • Dalziel + Scullion – CV
    Curriculum Vitae Dalziel + Scullion Studio Dundee, Scotland + 44 (0) 1382 774630 www.dalzielscullion.com Matthew Dalziel [email protected] 1957 Born in Irvine, Scotland Education 1981-85 BA(HONS) Fine Art Duncan of Jordanstone College of Art and Design, Dundee 1985-87 HND in Documentary Photography, Gwent College of Higher Education, Newport, Wales 1987-88 Postgraduate Diploma in Sculpture and Fine Art Photography, Glasgow School of Art Louise Scullion [email protected] 1966 Born in Helensburgh, Scotland Education 1984-88 BA (1st CLASS HONS) Environmental Art, Glasgow School of Art Solo Exhibitions + Projects 2016 TUMADH is TURAS, for Scot:Lands, part of Edinburgh’s Hogmanay Festival, Venue St Pauls Church Edinburgh. A live performance of Dalziel + Scullion’s multi-media art installation, Tumadh is Turas: Immersion & Journey, in a "hauntingly atmospheric" venue with a live soundtrack from Aidan O’Rourke, Graeme Stephen and John Blease. 2015 Rain, Permanent building / pavilion with sound installation. Kaust, Thuwai Saudia Arabia. Nomadic Boulders, Permanent large scale sculptural work. John O’Groats Scotland, UK. The Voice of Nature,Video / film works. Robert Burns Birthplace Museum. Alloway, Ayr, Scotland, UK. 2014 Immersion, Solo Festival exhibition, Dovecot Studios, Edinburgh as part of Generation, 25 Years of Scottish Art Tumadh, Solo exhibition, An Lanntair Gallery, Stornoway, Outer Hebrides, as part of Generation, 25 Years of Scottish Art Rosnes Bench, permanent artwork for Dumfries & Galloway Forest 2013 Imprint, permanent artwork for Warwick University Allotments, permanent works commissioned by Vale Of Leven Health Centre 2012 Wolf, solo exhibition at Timespan Helmsdale 2011 Gold Leaf, permanent large-scale sculpture. Pooley Country Park, Warwickshire.
    [Show full text]
  • William Crosbie Centenary Exhibition
    WILLIAM CROSBIE Centenary Exhibition WILLIAM CROSBIE (1915-1999) Centenary Exhibition 7 - 31 JANUARY 2015 16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected] www.scottish-gallery.co.uk Front cover: Music of Living - Monkey and Nude, 1988, oil on board, 71 x 91.4 cms, cat. 33 Left: Self Portrait, 1956, oil on board, 60.3 x 43.1 cms, cat. 11 2 INTRODUCTION There are many Scottish painters who have made a mark on our culture and consciousness in the last century and it is tempting to try to attach each to a school or movement. The artist has a habit of resisting any attempt at taxonomy however, wriggling free from the entomologist’s chloroform bottle and display pin, to be unruly, unpredictable and provide no favours for the art historian. Yes, we had The Glasgow Boys, a coherent group of realist painters before the beginning of the 20th Century. And then came The Scottish Colourists, our first modernists, who certainly exhibited as a group and can be understood as British post-impressionists. In the post-War years the choice seemed to be to stay in Scotland under the wing of your Art College or move to the South, like Colquhoun and MacBryde, Alan Davie, William Gear and W. Barns-Graham. Of course the complex reality denies a simple telling; for every adherent there is an opponent and many of the most powerful and individual painters of the period like James Cowie or Joan Eardley neither left nor taught in Glasgow or Edinburgh.
    [Show full text]
  • M a R T I N B O Y
    M A R T I N B O Y C E 1967 Born in Hamilton, Scotland Currently lives and works in Glasgow, Scotland Education 1995-1997 MFA, Glasgow School of Art 1996 California Institute for the Arts 1986-1990 BA Environmental Art, Glasgow School of Art Solo Exhibitions (* denotes catalogue) 2019 ‘A Thousand Future Blossoms’ Permanent Installation, 37, rue Sainte-Croix-de- la-Bretonnerie, Eataly Paris Marais, Paris An Inn For Phantoms Of The Outside And In, Mount Stuart, Isle of Bute, Scotland 2018 Esther Schipper Gallery, Berlin Martin Boyce: Hanging Gardes, A4 Art Museum, Chengdu, China * Remembered Skies, Tate Britain, London (site-specific permanent installation) 2017 All the Gravity, All the Air, Swiss Re, Zürich (public art commission) Light Years, The Modern Institute, Glasgow Beyond the Sea, Against the Sun, TELUS Garden, Vancouver (public art commission) Sleeping Chimneys. Dead Stars.,Tanya Bonakdar Gallery, New York Spotlight: Do Words Have Voices, 2011, Tate Britain, London 2016 Spook School, CAPRI, Düsseldorf, Germany Gasträume 2016, Zürich 2015 Martin Boyce, Museum für Gegenwartskunst Basel, Switzerland * Martin Boyce: When Now is Night, RISD Museum, Providence Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language, Galerie Eva Presenhuber, Zürich 2014 Stellar Remnants, Johnen Galerie, Berlin Galerie Eva Presenhuber, Zürich Billboard for Edinburgh: Martin Boyce, Ingleby Gallery, Edinburgh, Scotland 2013 Martin Boyce: It’s Over and Over, Tanya Bonakdar Gallery, New York All Over / Again
    [Show full text]
  • Glasgow Boys and the Scottish Colourists
    Glasgow Boys and the Scottish Colourists Start date 19 July 2019 End date 19 July 2019 Venue Madingley Hall Madingley Cambridge Tutor Dr Jan D. Cox Course code 1819NRX048 Director of Academic Centres Sarah Ormrod For further information on this Head of Academic Centre Administration, Zara Kuckelhaus course, please contact [email protected] or 01223 746204 To book See: www.ice.cam.ac.uk or telephone 01223 746262 Tutor biography Dr Jan D. Cox was awarded a PhD in History of Art from the University of Leeds in 2014, where he specialised in 19th-century Nordic art. He shares his interests between this topic and British art of the late 19th and early 20th centuries. In addition to teaching at ICE, Cambridge, Jan is a regular tutor for Oxford University weekly classes, lectures at arts organisations, including Dillington House, and tutors an online course on the Impressionists. At Oxford Brookes University, Jan was awarded the Jeanne Sheehy Memorial Prize for work on Christopher Wood, an MA at Bristol followed, where his studies focused on John Minton, Keith Vaughan and British Neo-Romanticism. Subsequently, at the University of Plymouth, he placed online Wyndham Lewis's art criticism in 'The Listener' magazine (1946-51). He has lectured extensively throughout Britain, in addition to addressing conferences in Copenhagen, Montreal, Rome, Greifswald and Oslo, and at Tate Britain and Tate St. Ives. He has researched extensively on connections between the Glasgow Boys and France and Norway. University of Cambridge Institute of Continuing Education, Madingley Hall, Cambridge, CB23 8AQ www.ice.cam.ac.uk Course programme Friday Please plan to arrive between 16:30 and 18:30.
    [Show full text]
  • Your Guide to the Art Collection
    ART AND ACADEMIA YOUR GUIDE TO THE ART COLLECTION Heriot-Watt University, Edinburgh EH14 4AS 0131 449 5111 www.hw.ac.uk AG1107 CONTEMPORARYFind out more SCOTTISH ART FURTHER READING Heriot-Watt University would like to thank the Patrick N. O’Farrell: Heriot-Watt University: artists, their relatives and estates for permission An Illustrated History to include their artworks. Pearson Education Ltd, 2004 Produced by Press and Public Relations, Heriot-Watt University: A Place To Discover. Heriot-Watt University Your Guide To The Campus Heriot-Watt University, 2006 Printed by Linney Print Duncan Macmillan: Scottish Art 1460-2000 Photography: Simon Hollington, Douglas McBride Mainstream, 2000 and Juliet Wood Duncan Macmillan Copywriter: Duncan Macmillan Scottish Art in the Twentieth Century Mainstream, 1994 © Heriot-Watt University 2007 THE ART COLLECTION 1 CONTENTS INTRODUCTION A highlight of the collection is a group of very fine INTRODUCTION 1 Heriot-Watt University’s art collection reflects paintings by artists associated with the College of SIR ROBIN PHILIPSON 2 its history and the people who have shaped its Art, a good many of them first as student and then development over two centuries. Heriot-Watt as teacher. Many of these pictures were bought JOHN HOUSTON 4 University has a long-standing relationship with by Principal Tom Johnston and gifted by him to the DAVID MICHIE 6 the visual arts. One of the several elements brought University. The collection continues to grow, however. ELIZABETH BLACKADDER 8 together to create Edinburgh College of Art in 1907 Three portraits by Raeburn of members of the was the art teaching of what was then Heriot-Watt Gibson-Craig family and a magnificent portrait DAVID McCLURE 10 College.
    [Show full text]
  • JD Fergusson: a Dramatic Fusion of Art, Nationality and Modernism
    Riach, A. (2016) JD Fergusson: A dramatic fusion of art, nationality and modernism. National, 2016, 18 March. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/150161/ Deposited on: 19 October 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk J.D. Fergusson – Art and Nationality Alan Riach and Alexander Moffat (Friday 18 March 2016) [Boxed off:] While Scottish poets and writers gathered in Montrose in the 1920s, then in St Andrews and Shetland in the 1930s, an artist of an older generation, born in Leith in 1874, was to travel alongside and sometimes intersect with their work. He was one of the group known familiarly as the Scottish Colourists but his vision and purpose is seen not only in his style and subjects but also, emphatically, in his book, Modern Scottish Painting. This was and remains a manifesto for the distinctiveness of Scottish art, and of Scotland, internationally and independently. He is one of the major artists of the twentieth century, fully in touch with international Modernism in Paris before the First World War, and committed to cultural and political regeneration in Scotland after the Second World War. His name was John Duncan Fergusson. [Article begins:] J.D. Fergusson’s book, Modern Scottish Painting appeared in 1943, the same year as Hugh MacDiarmid’s autobiography Lucky Poet: A Self-Study in Literature and Political Ideas and the major breakthrough volume of modern Gaelic poetry, Sorley Maclean’s Dàin do Eimhir.
    [Show full text]