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Scottish Art (Second) (World of Art) by Murdo MacDonald Pdf
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.
A beautifully illustrated study of Celtic arts -- style, development and revival - and the relationship between art objects and identity, covering 2500 years of history.
A landmark publication celebrating over 5,000 years of creativity, The Story of Scottish Art explores Scotland’s cultural identity and artistic output through the ages. This is the fascinating story of how Scotland has defined itself through its art over the past 5,000 years, from the earliest enigmatic Neolithic symbols etched onto the landscape of Kilmartin Glen to Glasgow’s position as a center of artistic innovation today. BBC TV broadcaster and artist Lachlan Goudie passionately narrates the joys and struggles of artists striving to fulfill their vision and the dramatic transformations of Scottish society reflected in their art. The Story of Scottish Art is beautifully illustrated with diverse works from Scotland’s long tradition of bold creativity: Pictish carved stones and Celtic metalwork, Renaissance palaces and chapels, paintings of Scottish life and landscapes by Horatio McCulloch, David Wilkie, the Glasgow Boys, and Joan Eardley; designs by master architect Charles Rennie Mackintosh; and collage and sculpture by pop art pioneer Eduardo Paolozzi. Through Scotland’s remarkable artistic history, Goudie tells the story of a small country with an extraordinary creative output that influenced significant global movements, such as art nouveau and pop art, while constantly redefining its own practices.
There is only one argument for Scottish independence: the cultural argument. It was there long before North Sea oil had been discovered, and it will be here long after the oil has run out. How have perceptions of Scottish culture been shaped by its role within Britain? What would be different about culture in an Independent Scotland? Why is culture the key to the independence debate? ALEXANDER MOFFAT and ALAN RIACH take a hard look at the most neglected aspect of the argument for Scotland's distinctive national identity: the arts. Their proposition is that music, painting, architecture and, pre-eminently, literature, are the fuel and fire that makes imagination possible. Neglect them at your peril. For Moffat and Riach, jobs, health and trade are matters of material fact that need to be enlivened by imagination. How can we organise society to help us approach what the arts have to give. Why have we been so poor at representing our arts comprehensively, both within Scotland and internationally? What can be done? How might things be different? The arts are of paramount importance in the modern world. Moffat and Riach take the argument out of the hands of politicians and economists and beyond the petty squabbles of party politics. Praise for Arts of Resistance An inspiration, a revelation and education, as to the extraordinary richness and organic cohesion of twentieth-century Scottish culture, full of intellectual adventure and openness to the wider world... full of passion and intelligence... This is a landmark book. THE TIMES LITERARY SUPPLEMENT
Craig Richardson here addresses key areas of cultural politics and identity in a way that not only illuminates the development of Scottish art, but teases out another strand of the plurality of developments which led to the success of artists throughout the UK in the 1990s. It is of the highest relevance whether one's perspective is that of the development of the Scottish art, British art or European art of this period. The book adds significantly to our knowledge of the art of this period in a way that will aid not only our historical understanding but our understanding of the dynamics of art practice today. Providing an analysis and including discussion (interviewing artists, curators and critics and accessing non-catalogued personal archives) towards a new chronology, Richardson here examines and proposes a sequence of precisely denoted 'exemplary' works which outlines a self-conscious definition of the interrogative term 'Scottish art.' Among the artists whose work is discussed are John Latham, Simon Starling, Alan Johnston, Roderick Buchanan, Glen Onwin, Christine Borland, William Johnstone, Joan Eardley, Alexander Moffat, Douglas Gordon, Alan Smith, Graeme Fagen, Ross Sinclair and many others. The discussion culminates in a critically original demonstration of the scope for further research and practice within the subject, facilitating national cultural debate on the character of Scottish-national visual art.
Why has identity become so central to judging art today? Why are some groups reluctant to defend free speech within culture? Has state support made artists poorer not richer? How does the movement for social justice influence cultural production? Why is Post-Modernism dominant in the art world? Why are consumers of comic books so bitterly divided? In Culture War: Art, Identity Politics and Cultural Entryism Alexander Adams examines a series of pressing issues in today's culture: censorship, Islamism, Feminism, identity politics, historical reparations and public arts policy. Through a series of linked essays, Culture War exposes connections between seemingly unrelated events and trends in high and popular cultures. From fine art to superhero comics, from political cartoons to museum policy, certain persistent ideas underpin the most contentious issues today. Adams draws on history, philosophy, politics and cultural criticism to explain the reasoning of creators, consumers and critics and to expose some uncomfortable truths.
What makes Scottish art Scottish? In this now classic text, Murdo Macdonald explores the distinctive characteristics of Scottish art over the centuries such as the heritage of Celtic design with its emphasis on intricate pattern; the importance of the landscape, particularly the Highlands and the sea; and a close connection with France. It ranges from the earliest art to survive Neolithic standing stones through the art of the Picts and Gaels, and the tumultuous centuries of the Reformation, to the great flowering of Scottish art in the Enlightenment. The final chapters focus closely on art produced since 1900, with succinct and revealing analyses of the Scottish Colourists and the major figures of contemporary art in all media. Masterpieces from the Book of Kells to paintings by Charles Rennie Mackintosh and Joan Eardley are illustrated in full colour, and such key works are set in a clearly explained historical context throughout. At a time when issues of Scottish identity are the subject of fierce debate, Macdonalds lucid and deeply researched book makes a significant contribution to the understanding of Scotlands artistic past and present.
An edited volume devoted to the reception and reputation of Edinburgh's premier Enlightenment portrait painter.Sir Henry Raeburn (1756-1823) is especially well known in Scotland as the portrait painter of members of the Scottish Enlightenment. However, outside Scotland, the artist rarely makes more than a fleeting appearance in survey books about portraiture. A review of the most recent exhibition devoted to the artist held in Edinburgh and London during 1997/8, noted that it wears the aspect of a closure rather than a new dawn' in Raeburn studies, with the painter being shown 'in solitary splendour'.This volume seeks to recover Raeburn from his artistic isolation by looking at his local and international reception and reputation, both in his lifetime and posthumously. It focuses as much on Edinburgh and Scotland as on metropolitan markets and cosmopolitan contexts. Previously unpublished archival material will be brought to light for the first time, especially from the Innes of Stow papers and the archives of the dukes of Hamilton.Key Features* 14 chapters each looking at different aspects of Raeburn's professional career* International scholars contributing to Raeburn studies for the first time* Interdisciplinary perspectives setting a new agenda for Raeburn studies* Traditional art analysis integrated with cultural, social, political and economic history* Includes much unpublished archival materialKeywordsScotland, Raeburn, Enlightenment, portraiture, art, patronage, taste, collecting
The culture of all nations is rooted in past experience, individual and communal. In Scotland's Future History McHardy looked at the misrepresentation of so much of Scotland's political and social history. In this new volume he takes a wider look at aspects of Scotland's culture that have been at the heart of how we have developed into who we are in today's world. Topics include literature, religion, history and story, the Radical 1790s, the remarkable Douglas Young and an introduction to Geomythography, a new way of melding prehistory and history to present a new and refreshing way seeing our past. Understanding our past is vital to the process of building a new Scotland in the years ahead. As Scotland moves towards reclaiming her status among the nations of the world it is important that we understand just how culturally distinctive we are. Being Scottish is no better than having any other nationality, but is is certainly no worse, and as this work hopefully shows, it is something worth celebrating.
A Shared Legacy: Essays on Irish and Scottish Art and Visual Culture brings together for the first time a unique selection of new research by leading Irish, Scottish, English and North American scholars to explore the varying ways in which the visual can operate within the context of two countries with related experiences of lost statehood yet retained nationhood. Covering a span of three centuries, this skilfully-crafted book takes the discussion of Irish and Scottish art beyond the often isolationist approach adopted in the past, dealing directly with issues of nationality in a wider context. The authors identify national concerns through a range of themes: race, class, union and assimilation or nationalism and internationalism and while many of the essays focus on paintings, sculpture, prints and watercolours, others consider a wider notion of visual culture by investigating photography, magic lantern slides and the home arts of embroidery and textiles.
Being Scottish by Thomas Martin Devine,Paddy Logue Pdf
100 short essays offer an opportunity to penetrate behind the statistical surveys and explore the rich complexity of changing identity from a varied range of opinion.
This title was first published in 2000: An investigation of Scottish art between 1928 and 1955 to bring into focus the multifaceted project that was Scottish modernism. At the core of this work lies the contention that Scottish modernism was underpinned by a desire to express a national consciousness. It was this ambition which became the defining feature of radical Scottish art, setting the parameters of its relationship with the idea of a coherent and international modern movement. With the foundation of the National Party of Scotland in 1928, Scottish intellectuals began to consider the nature of national identity and the characteristics of a national art. The "Scottish Renaissance Movement", under the voluble leadership of Hugh MacDiarmid, set out to articulate these interests, developing a vernacular poetry and literature. For Scottish artists, the way forward was harder to identify, as they fought to reconcile the demands for a Scottish national art with the stylistic revolution of international modernism. Tom Normand examines the competing claims of nationalism and modernism as they affected Scottish art. This in-depth analysis of a dynamic episode in Scottish visual culture looks at the work of, among others, William Johnstone, William McCance and John Duncan Fergusson.