Relevant bibliographies by topics / Painting – Scotland

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Painting – Scotland'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Painting – Scotland"

1

HARE, BILL. "CONTEMPORARY PAINTING IN SCOTLAND." Art Book 1, no. 1 (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 (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 (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 (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 (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 m
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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 (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 (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 (September 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 (2012): 314–15. http://dx.doi.org/10.1086/scj23210875.

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Dissertations / Theses on the topic "Painting – Scotland"

1

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 S
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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. A
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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
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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 politi
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Books on the topic "Painting – Scotland"

1

Scotland, National Museums of, ed. Renaissance decorative painting in Scotland. National Museums of Scotland Pub., 2003.

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2

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

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

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4

Art, Bourne Fine, and Fine Art Society, eds. Five centuries of Scottish painting. Atelier Books, 2006.

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5

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

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6

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

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7

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

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8

England), Mercers' Company (London, ed. Oil paintings in public ownership in Central Scotland, Fife. The Public Catalogue Foundation, 2013.

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Scotland, National Galleries of, ed. The face of Scotland: The Scottish National Portrait Gallery at Kirkcudbright. National Galleries of Scotland, 2008.

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Howson, Peter. Peter Howson. Flowers East, 1989.

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Book chapters on the topic "Painting – Scotland"

1

Graham, Michael F. "Punching Back against Patriarchy: The Story of Jean Weir." In Gender in Scotland, 1200-1800. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781399512985.003.0004.

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This chapter offers a new examination of the notorious incest case of the brother and sister Thomas and Jean Weir, which led to their executions in Edinburgh in April 1670. But rather than focusing primarily on the more infamous Thomas and the legends that surround him, it seeks to analyse the case from Jean’s perspective, painting a picture of someone scarred by decades of sexual abuse which began when she was ten years old. It also highlights her behaviour on the scaffold where, instead of playing the expected role of penitent sinner, she punched the hangman, attempted to strip off her cloth
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Goode, Mike. "History in Three Dimensions." In Romantic Capabilities. 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 pers
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"Presbyterian Preaching: Hieroglyphical Paintings in Stirling." In Emblems in Scotland. Brill | Rodopi, 2018. http://dx.doi.org/10.1163/9789004364066_007.

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Macdonald, Murdo. "Robert Burns and the Visual Arts." In The Oxford Handbook of Robert Burns. 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 lea
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McArthur, Colin, and Jonathan Murray. "Breaking the Signs: Scotch Myths as Cultural Struggle." In Cinema, Culture, Scotland. Edinburgh University Press, 2024. http://dx.doi.org/10.3366/edinburgh/9781399512862.003.0008.

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Taking the Grigors’ exhibition Scotch Myths (1981) as a jumping off point, the essay brings the emergent discipline of semiotics to bear on a wide range of Scottish artefacts (postcards, shortbread tins, paintings, films etc.) to reveal the recurrent discourses, primarily Tartanry and Kailyard, within which they have been constructed. It then proposes alternative, often deconstructive, discourses which challenge the dominant ones.
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Hinton, David A. "An Epoch of New Dynasties." In 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 lead
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Boswell, James. "An Account Of Corsica." In James Boswell. 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 176
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Bischof, Christopher. "Rules and Rule Breaking in Teacher Training Colleges." In Teaching Britain. 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 ‘friend
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Theodore Hoppen, K. "Living and Spending." In The Mid-Victorian Generation. 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 s
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