An illustrated guide to the collection of portraits held in the Scottish National Portrait Gallery.

Founded only in 1960, the Scottish National Gallery of Modern Art in Edinburgh already boasts an outstanding collection of modern and contemporary art. The collection includes major works by artists such as Matisse, Picasso, Kirchner, Miro, Magritte, Giacometti, Moore, Lichtenstein and Baselitz, and an exceptional group of Scottish paintings. More than 230 of the finest paintings, sculptures, prints and drawings are illustrated here in colour, alongside descriptions of each work. The book offers a detailed guide to the collection as well as an accessible and informative introduction to modern art.

Long overdue: Revised, updated, freshly-illustrated Edinburgh joins the Companion Guide series, informative on Edinburgh's - and Scotland's - past and present. Edinburgh is one of Europe's most elegant and cosmopolitan cities, the Old Town rebuilt on the medieval street plan after being burned down by the English in 1544, and the eighteenth-century classical New Town more extensive thananything else of its kind in Europe. Edinburgh was the capital of an independent kingdom for more than two hundred and fifty years, and it has the air of a capital, with buildings where kings were born or where some of their moreprominent subjects were assassinated, streets once trodden by Mary Queen of Scots and Bonnie Prince Charlie, and a rich artistic life that comes into exhilarating full flower in August with the Edinburgh Festival. Edinburgh is also the gateway to some of the most spectacularly beautiful country in Britain: lying southward is the romantic landscape of the Borders, where Alexander Youngson is an admirable guide to the ruined abbeys, the castles thathave withstood countless sieges, and the great houses still owned by families 'that the Flood could not wash away'. A.J. YOUNGSON is former chairman of the Fine Art Commission for Scotland.

Inventive storytelling: the early subject pictures -- Batoni's British patrons and the grand tour -- Painter of princes and prince of painters -- Restorer of the Roman school: final years and reception -- Drawings, working methods, and studio practices.

This unique and important directory incorporates some 3,200 entries. It covers all types and sizes of museums; galleries of paintings, sculpture and photography; and buildings and sites of particular historic interest. It also provides an extensive index listing over 3,200 subjects. The directory covers national collections and major buildings, but also the more unusual, less well-known and local exhibits and sites. The Directory of Museums, Galleries and Buildings of Historic Interest in the United Kingdom is an indispensable reference source for any library, an ideal companion for researcher and enthusiast alike, and an essential purchase for anyone with an interest in the cultural and historical collections of the UK. Features include: * Alphabetically listed entries, which are also indexed by subject for ease of reference * Entries include the name and address of the organization, telephone and fax numbers, email and internet addresses, a point of contact, times of opening and facilities for visitors * A breakdown of the collections held by each organization, giving a broad overview of the main collection as a whole * Details of special collections are provided and include the period covered as well as the number of items held.

This book examines the artistic partnership of Ben Nicholson and Winifred Nicholson in the 1920s and their friendship and collaboration with Christopher Wood, Alfred Wallis, and the potter William Staite Murray. Inspired by each other, the Nicholsons experimented furiously and often painted the same subject, one as a colorist the other more interested in form. Winifred wrote of her time with Ben, 'All artists are unique and can only unite as complementaries not as similarities'. New research based on previously unpublished letters, photographs and other material draws out their fascinating connections. All the works, many of which are previously unpublished, are illustrated in full color, each with comments relating to the work by the artists and their critics.

Investigates the authenticity of the Chandos portrait and five others as true likenesses of playwright William Shakespeare, and explores Shakespeare's life and world, presenting and describing individual costumes, theater models, manuscripts, and maps from his time as well as portraits of his contemporaries.

This is the first book to provide a full and coherent introduction to the photography of Victorian Scotland. There are many books which deal with particular elements and individual photographers, which show the interest in the subject, but no book draws everything together to provide an understanding of the multi-faceted nature of photography and the inter-relationship with other activities in the society of the time. This authoritative introduction, building upon these other publications, will provide a wide-ranging appreciation of early Scottish photography and in particular that Scottish photography was in the vanguard of many international trends. The material has been structured and the topics organised, with appropriate illustrations, as both a readable narrative and a foundation text for the subject.

This book highlights how the Catholic population participated in the extension of citizenship in Scotland and considers Catholicism’s transition from an underground and isolated church to a multi-faceted institution by taking a critical look at gender, ethnicity and class. It prioritises the role of women in the transformation and modernization of Catholic culture and represents a radical departure from the traditional perception of the church as an institution on the fringes of Scotland’s religious and civic landscape. It examines how Catholicism participated in constructions of national identity and civic society. Industrialisation, urbanisation, and Irish migration forced Catholics and non-Catholics to reappraise Catholicism’s position in Scotland and in turn Scotland’s position in England. Using previously unseen archival material from private church and convent collections, it reveals how the construction of a Catholic social welfare system and associational culture helped to secure a civil society and national identity that was distinctively Scottish.