Bibliographies thématiques / Painting – Scotland

Littérature scientifique sur le sujet « Painting – Scotland »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Painting – Scotland"

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HARE, BILL. « CONTEMPORARY PAINTING IN SCOTLAND ». Art Book 1, no 1 (janvier 1994) : 12–13. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00072.x.

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Green, Simon. « Michael Bath, Renaissance Decorative Painting in Scotland ». Architectural Heritage 15, no 1 (novembre 2004) : 136–38. http://dx.doi.org/10.3366/arch.2004.15.1.136.

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Cambridge, Matt. « Review : Michael Bath, Renaissance Decorative Painting in Scotland ». Art Book 11, no 2 (mars 2004) : 31–32. http://dx.doi.org/10.1111/j.1467-8357.2004.00403.x.

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Williams, Janet Hadley. « Renaissance Decorative Painting in Scotland (review) ». Parergon 21, no 2 (2004) : 179–81. http://dx.doi.org/10.1353/pgn.2004.0011.

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MacDonald, Catriona M. M. « Painting Labour in Scotland and Europe, 1850–1900. By John Morrison ». Scottish Historical Review 95, no 1 (avril 2016) : 137–38. http://dx.doi.org/10.3366/shr.2016.0291.

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Brophy, Kenneth. « The Ludovic technique : the painting of the Cochno Stone, West Dunbartonshire ». Scottish Archaeological Journal 42, Supplement (octobre 2020) : 85–100. http://dx.doi.org/10.3366/saj.2020.0148.

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The painting of the Cochno Stone rock-art panel, West Dunbartonshire, in 1937 by Ludovic McLellan Mann is one of the most eccentric acts in the history of archaeology in Scotland. Despite publishing widely and being a compulsive user of newspapers to publicise and report on his activities, Mann left very few direct clues to explain what the grid and symbols he painted onto the Cochno Stone meant. This paper describes the different elements of Mann's paintjob based on historic photography and observations made during the brief uncovering of the Cochno Stone in 2016. The logic underpinning the multiple elements of this painted scheme, including two different grids, is explored with reference to other works published by Mann and his broader body of research. It is argued that Mann saw the arrangement of rock-art symbols carved into the Cochno Stone as a microcosm of a Neolithic cosmological scheme and associated with the documentation of and prediction of eclipses. The paper concludes with reflection on the legacy of this act.
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Forbes, D. « 'Dodging and watching the natural incidents of the peasantry' : Genre Painting in Scotland 1780 1830 ». Oxford Art Journal 23, no 2 (1 janvier 2000) : 79–94. http://dx.doi.org/10.1093/oxartj/23.2.79.

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Campbell, Ian. « Michael Bath , Renaissance Decorative Painting in Scotland. National Museums of Scotland Publishing : Edinburgh, 2003. ix + 286 pp. £30 pbk. ISBN 1 901663 60 4. » Innes Review 56, no 2 (novembre 2005) : 216–17. http://dx.doi.org/10.3366/inr.2005.56.2.216.

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Stell, Geoffrey. « Renaissance Decorative Painting in Scotland. By Michael Bath. 280mm. Pp ix plus 286, ills. Edinburgh : National Museums of Scotland Publishing, 2003. ISBN 1901633604. £30. » Antiquaries Journal 84 (septembre 2004) : 460. http://dx.doi.org/10.1017/s000358150004631x.

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Sawkins, Annemarie. « :Titian and the Golden Age of Venetian Painting : Masterpieces from the National Galleries of Scotland ». Sixteenth Century Journal 43, no 1 (1 mars 2012) : 314–15. http://dx.doi.org/10.1086/scj23210875.

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Thèses sur le sujet "Painting – Scotland"

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Rush-Bambrough, Sally. « Glass painting in Scotland, 1830-70 ». Thesis, Glasgow School of Art, 2001. http://radar.gsa.ac.uk/4928/.

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This is a thesis in two parts. Chapters one to four examine the circumstances of the stained glass revival in Scotland while chapters five to eight identify the particular character of nineteenth century Scottish glass painting up to the 1870s. The opening question is whether or not by the early nineteenth century glass painting was truly an art in decline and this discussion leads into the investigation of the significance of progress in the glass industry to the stained glass revival. This line of questioning continues with the identification of the pioneers of the stained glass revival in Scotland, re-assessing the contribution of James Ballantine and introducing William Cooper. The initial demand for stained glass in Scotland is explored through reference to genealogy, antiquarianism and High Church practice. Edinburgh offered unique opportunities for apprentice glass painters to acquire an art education and this thesis moves on to discuss how this influenced their approach to glass painting, focusing upon the career of Francis Wilson Oliphant. It argues that the commissions which shaped the future direction of Scottish glass painting were the rebuilding of the Houses of Parliament and the re-glazing of Glasgow Cathedral where, in both cases, German glass painting was nominated as the approved artistic model. As it was eventually decided that the new windows for Glasgow Cathedral should be designed and executed by the Königliche Glasmalereianstaff of Munich, thesis concludes with a demonstration of the subsequent German influence upon Scottish glass painting.
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Morrison, John. « Rural nostalgia : painting in Scotland c.1860-1880 ». Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/6481.

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A work of "rural nostalgia" is a distorted image of a past, or passing rural existence produced in the period c.1860-1880. It is distorted in such a way as to heighten the emotional impact of the work and to emphasize the inherent moral message carried by the painting. This message is always the same. In precisely the same terms as contemporary commentators, the painters lauded those aspects of human existence thought to be essential for a humane civilised society and felt to be being destroyed by the urbanisation of man. Hence family life, the home and community life were praised. Along with individual human relationships, society's provision of both temporal and religious education were seen as vital. These linked factors, so prevalent in rural life. were thus also frequently portrayed, praised and give an implicitly rural setting. The ambivalent response to their industrial society of mid-Victorian Scots. themselves engaged in commerce and industry, found expression in the work of artists such as G.P. Chalmers and George Reid. In effect the collectors of rural nostalgia. convinced of the educative role of art, sought to promote a more responsible, caring, society through their purchasing and subsequent lending out of rural nostalgia paintings. The paintings themselves. though heavily imbued with the spirit of contemporary Calvinist Scotland, were philosophically influenced by John Ruskin and by French "Realist" writing and criticism. They were practically influenced by nineteenth century Dutch painting. The significance of the painters of rural nostalgia lies not in their formal innovations, though they were technically of considerable importance to the later "Glasgow School", it lies in the alternative view they afford of the motivations and concerns of the patrons and practitioners of painting in Scotland in the third quarter of the nineteenth century.
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Woodward-Reed, Hannah Elizabeth. « The context and material techniques of royal portrait production within Jacobean Scotland : the Courts of James V and James VI ». Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30910/.

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This inter-disciplinary thesis addresses the authenticity and social context of surviving portraits of Scottish monarchs between 1530 and c.1590, bringing the study of the Scottish portraits closer to the standard undertaken upon surviving English works. This research focuses upon key questions to begin to reveal the nature of commission and execution of sixteenth-century portraits in Scotland, focusing upon a pair of double portraits from Blair Castle, Pitlochery, Perthshire. The two paintings will form the key case-studies for this research, and the central question to the thesis is whether they are authentic, sixteenth-century Scottish-made images. The thesis will address questions such as: How do they fit into the contemporaneous culture of court portraiture production in Northern Europe and across the border in England? Does the physical evidence support the notion of Netherlandish influence? Surviving documentary evidence of the painterly aspects of the courts of King James V and his grandson King James VI is presented, and the results of interdisciplinary technical analysis used to explore whether the materials and techniques of the Blair portraits and their surviving counterparts demonstrate enough Netherlandish influence to present the existence of a Scoto-Netherlandish school of painting. The National Portrait Gallery’s research project Making Art in Tudor Britain (2007-2014) 2010 conference Tudor and Jacobean Painting: Production, Influences and Patronage raised the issue of the need for a parallel project for Scotland, tracing the highly-developed use of portraiture by the later Stewart dynasty to its fifteenth-century Scottish beginnings. This thesis argues that far from being culturally backwards in terms of portraiture, the Scottish court employed fashionable Netherlandish techniques from an early date, with a strong understanding of the impact of the arts dating from the earliest Stewarts. Most importantly, this research is the first to undertake a full technical examination of the Blair Castle portraits, placing these works within a comprehensive material context. Such examination of the visual arts commissioned at this time can only further our understanding of the wider context of production in Scotland at this time. Additionally, understanding the nature of the commission of royal portraits by those in noble families makes clearer the use of the visual arts to enhance careers and reputation, as well as social identity. In focusing the discussion purely upon Scottish portraits in native collections, this research unites works which have not been comprehensively studied as a whole. The study of the sixteenth-century Scottish court has advanced considerably in recent years, but without an in-depth examination of the artworks produced as visual representation of these courts, a complete understanding cannot be achieved. This thesis demonstrates that much of the production of royal portraits was based upon the copying of copies. It is thus not the aesthetic quality which should be the focus, but the circumstances of their existence and material composition which is most revealing about the place Scotland holds within the study of early modern European art.
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MacDonald, Juliette. « Aspects of identity in the work of Douglas Strachan (1875-1950) ». Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.

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This thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its political counterpart. Yet there are strong arguments to counter this belief. This thesis addresses some of the issues raised by such arguments and adopts an ethno-symbolic approach in order to re-evaluate Strachan's work, and that of his contemporaries. The thesis also develops the theoretical and contextual debates concerning the decorative arts in general and stained glass in particular in order to raise awareness of its merits and its role within our society.
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Livres sur le sujet "Painting – Scotland"

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Scotland, National Museums of, dir. Renaissance decorative painting in Scotland. Edinburgh : National Museums of Scotland Pub., 2003.

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Centre, Talbot Rice Art, et Tate Gallery, dir. Painting in Scotland : The golden age. Oxford : Phaidon in association with the Talbot Rice Art Centre, the University of Edinburgh and the Tate Gallery, London, 1986.

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Macmillan, Duncan. Painting in Scotland : The Golden Age. Oxford : Phaidon Press in association with the Talbot Rice Art Centre, the University of Edinburgh, and the Tate Gallery, London, 1986.

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John, Morrison. Painting labour in Scotland and Europe, 1850-1900. Farnham Surrey, England : Ashgate, 2014.

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Painters of Scotland : A celebration of Scottish landscape. Nairn [Scotland] : Thomas & Lochar, 1997.

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Memphis Brooks Museum of Art., Georgia Museum of Art et New Orleans Museum of Art., dir. Scottish treasures : Masterpieces from the National Gallery of Scotland. Edinburgh : National Galleries of Scotland, 2001.

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The Glasgow Boys : The Glasgow school of painting 1875-1895. London : John Murray published in association with Britoil, 1985.

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Howson, Peter. Peter Howson : Paintings & prints. Glasgow : Glasgow Print Studio [with] Flowers East, 1990.

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Gallery, Scottish National Portrait. Patrons and painters : Art in Scotland 1650-1760. Edinburgh : Trustees of the National Galleries of Scotland, 1989.

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Howson, Peter. Peter Howson. London : Flowers East, 1989.

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Chapitres de livres sur le sujet "Painting – Scotland"

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Goode, Mike. « History in Three Dimensions ». Dans Romantic Capabilities, 99–168. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862369.003.0004.

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The chapter analyzes how the nineteenth century’s two most significant immersive media—panoramas and stereoscopic photographs—comment on and draw attention to their differences as media through their respective uses of Walter Scott’s novels and poems, and, in turn, how these medial differences bring into relief the aesthetic and philosophical novelty of Scott’s own efforts to write visually. To make its argument, the chapter draws on a wide variety of archives and forms of evidence, including: period guidebooks to panoramas; the histories of media technologies like camera obscuras, linear perspective, and stereoscopes; Victorian stereographs of Scotland, especially by George Washington Wilson; readings of visually evocative passages in Scott’s Waverley, Ivanhoe, and The Fair Maid of Perth; Eugène Delacroix’s painting Rebecca and the Wounded Ivanhoe; and Romantic writings on optics and vision, including Scott’s Letters on Demonology and Witchcraft and his friend David Brewster’s scientific treatises on monocular and binocular vision.
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« Presbyterian Preaching : Hieroglyphical Paintings in Stirling ». Dans Emblems in Scotland, 178–233. Brill | Rodopi, 2018. http://dx.doi.org/10.1163/9789004364066_007.

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Macdonald, Murdo. « Robert Burns and the Visual Arts ». Dans The Oxford Handbook of Robert Burns, 300–310. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780198846246.013.22.

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Abstract Through consideration of landscapes and monuments, this chapter goes beyond the portrait of Robert Burns by Alexander Nasmyth whilst acknowledging its significance. That significance is considered both in terms of the poet’s features (not least as explored by sculptors making memorials to Burns) and in terms of a tradition of art to which the portrait relates, namely European landscape painting. That landscape tradition underpins Nasmyth’s development of a sense of national landscape in Scotland. Such landscapes can in turn be seen as the context for monuments to Robert Burns, not least through David Octavius Hill’s series of images for The Land of Burns. Particular note is taken of the Greek revival work of Thomas Hamilton both at Alloway and in Edinburgh in the first third of the nineteenth century and the classical context those monuments gave for the first statue of Burns, that by John Flaxman, completed in 1826. The international distribution of statues in honour of Burns is explored through those made in the 1880s by John Steell, whose statues are sited in New York, Dundee, London, and Dunedin. A theme considered throughout is the significance of illustrated editions of Burns such as The National Burns, and their presence as aesthetic objects in their own right. Consistent with that, I note throughout the ‘hidden’ artists of the editions: the engravers.
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Hinton, David A. « An Epoch of New Dynasties ». Dans Gold and Gilt, Pots and Pins. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780199264537.003.0010.

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The Wessex kings’ conquest of the whole of England during the first half of the tenth century created conditions that led to a nation-state being recognizable by the end of the eleventh. In Scotland this was a much longer process, and Wales remained fragmented. The differences between them are mirrored by coinage; increasingly regulated and systematic in England, but not even produced in Scotland or Wales. The nation-state remained focused upon kings, however, elevating their status but exposing society to the haphazard behaviour and ambitions of an individual. They might still be seen as leading their ‘people’, English, Norman or whomsoever, but in reality they depended upon the support of a military elite and legitimization by the Church, rather than upon an efficient bureaucracy, let alone upon popular acceptance. Physical expression of royal supremacy was provided by increasingly elaborate inauguration rituals, and by crown-wearing ceremonies held on major feast-days at Gloucester, Winchester, and elsewhere, when the king represented his elevation by displaying himself with his emblems of power. A crown had been used as an image on coins by King Athelstan in the 930s, though his immediate successors stuck mainly to the traditional diadem. Ethelred (978–1016) added a staff, symbolizing a king’s pastoral duties to his people, and was occasionally shown wearing a round cap, usually taken to represent a helmet based on Roman coin images rather than on contemporary armour. The ‘hand of Providence’ on the reverse of some of his coins implied God’s blessing on an anointed king (cf. Col. pl. F.2). Cnut (1016–35) began his reign with a coin showing him crowned, as though to emphasize that his usurpation of power was legitimized by God through his coronation; the crown was a new type, an open circle surmounted by gold lilies. He followed it with a coin that has him wearing a tall, pointed helmet, this time a form that was in contemporary use. The lily-circlet crown had already been shown in a manuscript picture being worn by King Edgar in c.966, and a domed version was drawn being brought down from Heaven to crown Cnut in a painting that commemorates his donation of a gold cross to the New Minster at Winchester.
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Boswell, James. « An Account Of Corsica ». Dans James Boswell, 3–142. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195165838.003.0001.

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Abstract Frontispiece: the portrait Henry Benbridge (1743-1812), American, was in Italy 1764-69; from there, between June and August 1768, he went to Corsica to paint Paoli; he came to London in December 1769 and returned permanently to America in 1770 (Gen. Corr. ii. 73-74 nn. 3, 4). Sir John Dick, then at Leghorn (see p. 11 n. 11) was the link-man; it was he who, c. 30 June 1768, forwarded JB’s letter to Paoli (presumably requesting that the portrait be undertaken) and had the portrait in his possession in August 1768 (Ibid, ii. 73, 97). The painting was exhibited in London, c. 12-24 May 1769 (Ibid, ii. 139 n. 6); the engraving was added to Corsica in the 3rd edn. title-page Non enim ... A. D. 1320 ‘Truly it is not on account of glory, or wealth or honour that we are fighting, but solely for that freedom which a virtuous man will sacrifice only with his life,’ Litera Comitum et Baronum Scotiae ad Papam (1320). Often referred to as the ‘Declaration of Arbroath,’ this letter from the Scottish nobility to the Pope asserted the independence of Scotland and rejected the domination of England. title-page Edward and Charles Dilly Edward (1732-79) and Charles (1739-1807), London booksellers and publishers. On 28 July 1767, Edward Dilly accepted JB’s proposal that Corsica should be published; he agreed to pay JB 100 guineas for the copyright; and, as his letters show, he took a keen, personal interest in the book. He contributed to British Essays in Favour of the Brave Corsicans (1769), a collection published by the two brothers. The first edition of Corsica was printed in Glasgow by the renowned Robert (1707-76) and Andrew (1712-75) Foulis (Gen. Corr. i. 187).
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Bischof, Christopher. « Rules and Rule Breaking in Teacher Training Colleges ». Dans Teaching Britain, 68–89. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833352.003.0003.

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Chapter three, ‘Rules and Rule Breaking in Teacher Training Colleges’, taps into the rich and virtually unused archives of seven training colleges in England and Scotland to show how tremendously liberating these institutions could be in practice despite their oppressive rules and infinitesimally detailed timetables. For instance, teachers-in-training reacted to bans on romantic relationships by creating a cult of the romantic. They celebrated courtship and more casual flirtation in poems, paintings, and short stories of their real-world exploits, all of which they circulated widely in ‘friendship albums’ and college ‘literary magazines’. This defiance became the basis of lifelong friendships—and a professional culture that pushed back against the imposition of policies.
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Theodore Hoppen, K. « Living and Spending ». Dans The Mid-Victorian Generation, 316–71. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198228349.003.0011.

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Abstract The family dominated Victorian life. Few questioned its importance, few comprehended its kaleidoscopic differences. Middle-class observers repeatedly detected threats to its integrities: working wives, youths earning more than was ‘good for them’, the licentiousness of factory life, bad housing, excessive drinking, religious decline. The talismanic paraphernalia designed to repel such evils—silver-framed photographs, genre paintings of family scenes, mugs and pots exuding cheerful domesticity—cluttered Victorian homes as densely as votive offerings cluttered the sooty popish chapels so despised by Protestant Englishmen. For all but the poorest the notion of ‘home’ was becoming increasingly associated with ideas of protection and defence. Middle- and upper-class husbands enjoyed the best of all worlds: long absences on ‘business’ or pleasure, on the one hand, much emphasis upon the virtues of domestic life, on the other. Neither the young Gladstone, simultaneously telling his wife that sadly he could be little with her while eagerly planning a trip to Ireland with two fellow MPs, nor the Revd Edward Miall, leaving his wife and five children for a solo summer in Scotland, were at all unusual. Within the home itself a kind of internal remoteness was condoned, even encouraged. Middle-class wives were praised for sheltering their husbands from the tedium of domestic affairs: ‘How wonderfully she looked after him ... everything was arranged ... so that he might do the maximum of work.’ The Revd Sabine Baring-Gould (author of ‘Onward Christian Soldiers’ and begetter of sixteen offspring) asked one small child at a party, ‘And whose little girl are you?’ She burst into tears: ‘I’m yours, Daddy’.
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