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Accessible, extensively researched, and beautifully illustrated, this updated volume by renowned scholar and author Murdo Macdonald sheds light on the history and cultural significance of Scottish art. At a time when issues of Scottish identity are the subject of fierce debate, Murdo Macdonald illuminates Scotland’s artistic past and present in this classic text in the World of Art series. Ranging from Neolithic standing stones and the art of the Picts and Gaels to Reformation and Enlightenment art and major figures in the contemporary art scene, Scottish Art explores the distinctive characteristics of Scottish art through the centuries. It examines the cultural heritage and intricate patterns of Celtic design, the importance of Highland and coastal landscapes, long-standing connections between French and Scottish artists, and how each of these factors influenced the development of art in Scotland. This new edition includes more than 200 full-color images of Scottish art from prehistoric times to the present. With masterpieces from artists such as Charles Rennie Mackintosh and Joan Eardley, this book is a thorough, authoritative, and accessible introduction to Scottish art.
This pioneering account of Modern Spiritualism in late 19th and early 20th-century Scotland is a compelling history of the international movement's cultural impact on Scottish art. From spirit-mediums creating séance art to mainstream artists of the Royal Scottish Academy, this exposition reveals for the first time the extent of Spiritualist interest in Scotland. With its interdisciplinary scope, Modern Spiritualism and Scottish Art combines cultural and art history to explore the ways in which Scottish art reflected Spiritualist beliefs at the turn of the 20th century. More than simply a history of the Spiritualist cause and its visual manifestations, this book also provides a detailed account of scepticism, psychical research, and occulture in modern Scotland, and the role that these aspects played in informing responses to Spiritualist ideology. Utilising extensive archival research, together with in-depth analyses of overlooked paintings, drawings and sculpture, Michelle Foot demonstrates the vital importance of Spiritualist art to the development of Spiritualism in Scotland during the 19th century. In doing so, the book highlights the contribution of Scottish visual artists alongside better-known Spiritualists such as Arthur Conan Doyle and Daniel Dunglas Home.
What kind of property is art? Is it property at all? Jordanna Bailkin's The Culture of Property offers a new historical response to these questions, examining ownership disputes over art objects and artifacts during the crisis of liberalism in the United Kingdom. From the 1870s to the 1920s, Britons fought over prized objects from ancient gold ornaments dug up in an Irish field to a portrait of the Duchess of Milan at the National Gallery in London. They fought to keep these objects in Britain, to repatriate them to their points of origin, and even to destroy them altogether. Bailkin explores these disputes in order to investigate the vexed status of property within modern British politics as well as the often surprising origins of ongoing institutional practices. Bailkin's detailed account of these struggles illuminates the relationship between property and citizenship, which has constituted the heart of liberal politics as well as its greatest weakness. Drawing on court transcripts, gallery archives, exhibition reviews, private correspondence—and a striking series of cartoons and photographs—The Culture of Property traverses the history of gender, material culture, urban life, colonialism, Irish and Scottish nationalism, and British citizenship. This fascinating book challenges recent scholarship in museum studies in light of ongoing culture wars. It should be required reading for cultural policy makers, museum professionals, and anyone interested in the history of art and Britain.
Robert Louis Stevenson and the Pictorial Text explores the genesis, production and the critical appreciation of the illustrations to the fiction of Robert Louis Stevenson. Stevenson is one of the most copied and interpreted authors of the late nineteenth century, especially his novels Treasure Island and Strange Case of Dr Jekyll and Mr Hyde. These interpretations began with the illustration of his texts in their early editions, often with Stevenson’s express consent, and this book traces Stevenson’s understanding and critical responses to the artists employed to illustrate his texts. In doing so, it attempts to position Stevenson as an important thinker and writer on the subject of illustrated literature, and on the marriage of literature and visual arts, at a moment preceding the dawn of cinema, and the rejection of such popular tropes by modernist writers of the early twentieth century.
In the 1860s, the brothers Richard and Samuel Redgrave sat down to write the book that was, in effect, the first popular account of British painting. With remarkable industry, they examined and sifted through the earlier studies and documentary sources while also contributing a great deal of firsthand knowledge. Many of the artists of the time were personal friends or acquaintances, and Richard Redgrave was a member of the Royal Academy.