Edinburgh · Highlands · Glasgow · Iona

100 masterpieces scottish painting

From Raeburn to the Colorists, a hundred paintings where Scotland is told through its faces, its cities, its legends, its shores and a color that never asks permission to enter.

Reverend Robert Walker skating on Lake Duddingston, painting by Henry Raeburn

A Scottish story, the windows open

Scottish painting first established itself through portraiture. Ramsay brought the elegance of the Enlightenment to London, while Raeburn painted scholars, children and clan leaders in Edinburgh with luminous frankness. His reverend skater, arms crossed on a frozen lake, already sums up a certain national talent for keeping calm in questionable circumstances.

In the 19th century, the country itself became a character. Nasmyth observes Edinburgh, Wilkie transforms fairs and interiors into human comedies, McCulloch gives the Highlands their romantic scale and McTaggart liberates the shore with a touch where air, water and silhouettes seem painted in the same breath.

Glasgow then opened the doors to Paris and Japan. Guthrie, Hornel, MacNicol and Neilson Gray renew subjects and framing; Peploe, Cadell and Hunter finally turn color into architecture. This classification favors images become emblematic, then unfold the works which explain how this modernity was constructed.

Three threads to follow

Faces that think

Ramsay, Raeburn, Lavery and their heirs give the social portrait an inner life: rank remains visible, but it never wins on its own.

An inhabited landscape

Lochs, castles, towns and islands carry the country's history. They change with each generation, from the romantic panorama to the colorful bursts of Iona.

Travel as a method

Rome, Paris, Spain and Japan nourish this painting without erasing its accent. Scotland borrows a lot, then always gives change in its own way.

Chapter 01

Icons, poets and national scenes

The most famous images open the course: a skater turned emblem, Burns, McTaggart's storms, Wilkie's crowds and Paton's magical visions.

#001Reverend Robert Walker skating on Lake Duddingston, painting by Henry Raeburn

Henry Raeburn

Reverend Robert Walker skating on Lake Duddingston

Date
1795
Technique
Oil painting
Collection
National Gallery of Scotland

Reverend Robert Walker glides across frozen Duddingston Lake with his arms crossed. Raeburn transforms this improbable balance into the most instantly recognizable image in Scottish painting.

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#002Robert Burns, painting by Alexander Nasmyth

Alexander Nasmyth

Robert Burns

Date
1787
Technique
Oil painting
Collection
National Galleries of Scotland

Robert Burns' portrait was painted from nature in 1787. Nasmyth gave the national poet an open and thoughtful face, which became one of his most widely distributed images.

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#003The Tempest, painting by William McTaggart

William mctaggart

The storm

Date
1890
Technique
Oil painting
Collection
National Galleries of Scotland

In The Tempest, waves, sky and characters are carried away by the same brush movement. McTaggart achieves a freedom close to impressionism without losing the real danger of the coast.

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#004The Pitlessie Fair, painting by David Wilkie

David Wilkie

The Pitlessie Fair

Date
1804
Technique
Oil painting
Collection
National Galleries of Scotland

The Pitlessie Fair brings together the residents of Wilkie's hometown in a carefully orchestrated crowd. Each short episode composes a social chronicle full of humor and affection.

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#005Dawkins and Wood discovering the ruins of Palmyra, painting by Gavin Hamilton

Gavin Hamilton

Dawkins and Wood discovering the ruins of Palmyra

Date
1758
Technique
Oil painting
Collection
National Galleries of Scotland

Dawkins and Wood measure the ruins of Palmyra during their 1751 expedition. Hamilton transforms archeology into an intellectual adventure, under columns that seem to win the battle of scale.

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#006The Fairy Abduction, Midsummer Eve, painting by Joseph Noel Paton

Joseph Noel Paton

The Fairy Rapture, Midsummer Eve

Date
1867
Technique
Oil painting
Collection
Kelvingrove Art Gallery and Museum

Fairies kidnap a child on Midsummer night in a composition saturated with creatures. Paton transforms Scottish folklore into a vast Victorian nightmare, splendid and slightly overcrowded.

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#007The Reconciliation of Oberon and Titania, painting by Joseph Noel Paton

Joseph Noel Paton

The Reconciliation of Oberon and Titania

Date
1847
Technique
Oil painting
Collection
National Galleries of Scotland

Oberon and Titania reconcile in the middle of a crowd of fairies taken from A Midsummer Night's Dream. Paton mixes Shakespeare, Pre-Raphaelite detail and microscopic imagination.

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#008Children of our village, painting by James Guthrie

James Guthrie

Children of our village

Date
1884
Technique
Oil painting
Collection
museum of Fine Arts Ghent

The children of the village of Ceres pose in a landscape without sweet idealization. Guthrie combines the outdoors, social observation and monumental composition, a Glasgow Boys manifesto.

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#009Visit of Queen Victoria to the Glasgow International Exhibition, painting by John Lavery

John Lavery

Queen Victoria's visit to the Glasgow International Exhibition

Date
1890
Technique
Oil painting
Collection
Kelvingrove Art Gallery and Museum

Victoria's visit to the Glasgow Exhibition in 1888 brought together court, industry and public performance. Lavery paints the crowd with a quick touch that avoids commemorative stillness.

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#010The Geisha, painting by George Henry

George Henry

The Geisha

Date
1894
Technique
Oil painting
Collection
National Galleries of Scotland

George Henry paints a geisha after his trip to Japan with Hornel. The costume, decorative background and profile bear witness to the Japonism of the Glasgow Boys without erasing the model.

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#011Kite flying in Japan, painting by Edward Atkinson Hornel

Edward atkinson hornel

Kite flying in Japan

Date
1894
Technique
Oil painting
Collection
National Galleries of Scotland

In Japan, Hornel observes a child flying a kite in a flattened and brightly colored composition. The motif becomes one of the best-known testimonies of the 1893-1894 voyage.

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#012Veules-les-Roses, painting by Samuel Peploe

Samuel Peploe

Veules-les-Roses

Date
1910
Technique
Oil painting
Collection
National Galleries of Scotland

In Veules-les-Roses, Peploe paints houses and cliffs with clear plans which announce his colorism. The French coast becomes a laboratory between Cézanne and northern light.

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#013Pink roses and Chinese vase, painting by Samuel Peploe

Samuel Peploe

Pink roses and Chinese vase

Date
1916
Technique
Oil painting
Collection
National Galleries of Scotland

The pink roses and the Chinese vase contrast soft flowers, hard porcelain and a colorful background. Peploe builds abundance with discipline that prevents the bouquet from scattering.

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#014Portrait of a Lady in Black, painting by Francis Cadell

Francis Cadell

Portrait of a lady in black

Date
1921
Technique
Oil painting
Collection
National Galleries of Scotland

Cadell's lady in black stands in a clean interior where each piece of furniture participates in the pose. The black of the dress becomes an active color, by no means an absence.

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#015Reflections in Balloch, painting by Leslie Hunter

Leslie Hunter

Reflections in Balloch

Date
1929
Technique
Oil painting
Collection
Scottish National Gallery of Modern Art

Reflections in Balloch transforms water into a mosaic of greens, blues and pinks. Hunter makes the familiar landscape a surface vibration, a luminous conclusion to his Scottish journey.

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#016Awakening, painting by Phoebe Anna Traquair

Phoebe Anna Traquair

The Awakening

Date
1904
Technique
Oil painting
Collection
National Galleries of Scotland

Awakening belongs to Traquair's symbolist universe, where figures, flowers and decorative lines participate in the same story. Consciousness seems to open like an interior architecture.

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#017A Belgian refugee, painting by Norah Neilson Gray

Norah Neilson Gray

A Belgian refugee

Date
1918
Technique
Oil painting
Collection
Glasgow Museums Resource Centre

The Belgian refugee was painted during the First World War. Norah Neilson Gray gives the young woman a silent dignity, far from propaganda and the spectacle of suffering.

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#018The Arrival of Saint Columba, painting by William McTaggart

William mctaggart

The Arrival of Saint Columba

Date
1895
Technique
Oil painting
Collection
National Galleries of Scotland

Saint Columba arrived in Iona in the 6th century to found his monastery. McTaggart combines Christian history, migration and rough seas in a vision almost dissolved by light.

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#019Spring, painting by William McTaggart

William mctaggart

Spring

Date
1864
Technique
Oil painting
Collection
National Galleries of Scotland

McTaggart paints spring with light touches that almost dissolve the figures in the landscape. The season becomes a change of air and color rather than an illustrated calendar.

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#020By the Summer Seas, painting by William McTaggart

William mctaggart

By the summer seas

Date
1890
Technique
Oil painting
Collection
National Galleries of Scotland

At the edge of the summer seas, the figures blend into the foam and the sun. McTaggart gives the beach continuous mobility where nothing stays perfectly drawn for long.

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Chapter 02

Lights, portraits and Antiquity

Ramsay, Hamilton and Raeburn established Scottish artists in European culture. The face, thought and ancient history share the same ambition.

#021Princes Street and the Royal Institution construction site, painting by Alexander Nasmyth

Alexander Nasmyth

Princes Street and the Royal Institution construction site

Date
1825
Technique
Oil painting
Collection
National Galleries of Scotland

Nasmyth observed Princes Street during the construction of the Royal Institution. The painting documents a modern Edinburgh which is invented between construction site, promenade and silhouette of the old town.

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#022Tantalloon Castle and Bass Rock, painting by Alexander Nasmyth

Alexander Nasmyth

Tantalloon Castle and Bass Rock

Date
1816
Technique
Oil painting
Collection
National Galleries of Scotland

Tantallon stands above the sea facing Bass Rock. Nasmyth transforms the medieval ruin into a romantic landmark where Scottish history still resists the wind.

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#023Chelsea Boarders reading the Waterloo dispatch, painting by David Wilkie

David Wilkie

Chelsea residents reading Waterloo dispatch

Date
1820
Technique
Oil painting
Collection
Apsley House

Chelsea veterans discover Waterloo victory in a dispatch. Wilkie spreads the news through looks, newspapers and reactions, like an early report.

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#024The Virgin and Child, painting by William Dyce

William Dyce

The Virgin and Child

Date
1845
Technique
Oil painting
Collection
Royal Collection

Dyce paints the Virgin and Child with the linear precision that will attract the Pre-Raphaelites. The tenderness remains contained by a composition inspired by the Italian Renaissance.

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#025Landscape of the Isle of Arran, painting by William Dyce

William Dyce

Arran Island Landscape

Date
1858
Technique
Oil painting
Collection
collection of the Aberdeen Archives, Gallery and Museums

On Arran, Dyce shows his family scattered among the rocks as he studies geology. The landscape brings together science, deep time and domestic life with almost mineral precision.

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#026The First Cloud, painting by William Quiller Orchardson

William Quiller Orchardson

The First Cloud

Date
1887
Technique
Oil painting
Collection
national Museum of Victoria

A couple feels the first distance being born in a still elegant interior. Orchardson transforms The First Cloud into a psychological drama where the furniture also seems to hold its breath.

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#027In the Orchard, painting by James Guthrie

James Guthrie

In the orchard

Date
1886
Technique
Oil painting
Collection
National Galleries of Scotland

In the orchard, figures are absorbed by shade, grass and trees. Guthrie makes the outdoors a way of rethinking human presence rather than a simple luminous exercise.

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#028Rue d'Oban, at night, painting by James Guthrie

James Guthrie

Rue d'Oban, at night

Date
1890
Technique
Oil painting
Collection
yale British Art Centre

Rue d'Oban, at night grabs windows, passers-by and artificial lighting in a dark material. Guthrie observes the modern city with unusual freedom from the official portrait painter.

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#029The Death of the Swan: Anna Pavlova, painting by John Lavery

John Lavery

The Death of the Swan: Anna Pavlova

Date
1911
Technique
Oil painting
Collection
National Gallery

Anna Pavlova performs The Death of the Swan in a white dress almost dissolved by movement. Lavery paints the dance as a luminous trace rather than as a stopped pose.

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#030The Tennis Game, painting by John Lavery

John Lavery

The Tennis Party

Date
1885
Technique
Oil painting
Collection
collection of the Aberdeen Archives, Gallery and Museums

The tennis game takes place on a lawn where white dresses catch the sun. Lavery adopts a modern framing which gives the leisure a lightness truly experienced.

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#031The Music of the Woods, painting by Edward Atkinson Hornel

Edward atkinson hornel

The Music of the Woods

Date
1906
Technique
Oil painting
Collection
National Galleries of Scotland

Children play or listen in a wood saturated with flowers and patterns. Hornel paints nature as a living tapestry where depth readily gives way to decor.

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#032The Cabbage Garden, painting by Arthur Melville

Arthur Melville

The Cabbage Garden

Date
1877
Technique
Oil painting
Collection
National Galleries of Scotland

The Cabbage Garden transforms a modest rural subject into a study of light and structure. Melville proves that a vegetable garden can perfectly support serious pictorial ambition.

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#033Portrait of a woman, Phyllis in town, painting by Bessie MacNicol

Bessie MacNicol

Portrait of a woman, Phyllis in town

Date
1904
Technique
Oil painting
Collection
National Galleries of Scotland

Phyllis in town appears in a dark outfit animated by a free touch. MacNicol gives the female portrait a psychological independence that goes beyond the fashion of the moment.

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#034Under the apple tree, painting by Bessie MacNicol

Bessie MacNicol

Under the apple tree

Date
1897
Technique
Oil painting
Collection
Glasgow Museums Resource Centre

Under the apple tree, the female figure matches the shadows and spots of sunlight. MacNicol builds outdoor intimacy without transforming its model into a floral accessory.

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#035Self-portrait, painting by Bessie MacNicol

Bessie MacNicol

Self-portrait

Date
1893
Technique
Oil painting
Collection
Kelvingrove Art Gallery and Museum

MacNicol paints himself young, with a direct look and a sober outfit. This self-portrait affirms the place of a Glasgow Girls artist in an environment still largely dominated by men.

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#036Army Auxiliary Hospital 301, Royaumont Abbey, painting by Norah Neilson Gray

Norah Neilson Gray

Army Auxiliary Hospital 301, Royaumont Abbey

Date
1918
Technique
Oil painting
Collection
Helensburgh Library

In Royaumont, Scottish surgeons treat the wounded in a military hospital run by women. Gray documents a medical and feminist history rarely placed at the center of war painting.

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#037Maternity triptych, painting by Phoebe Anna Traquair

Phoebe Anna Traquair

Maternity triptych

Date
1902
Technique
Oil painting
Collection
National Galleries of Scotland

The Maternity Triptych deals with birth, care and filiation in a format inspired by religious art. Traquair gives the feminine experience the monumentality of an altarpiece.

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#038Still life, painting by Samuel Peploe

Samuel Peploe

Still life

Date
1913
Technique
Oil painting
Collection
National Galleries of Scotland

This still life from 1913 organizes fruits, bottles and fabrics in wide contrasts. Peploe makes the table a field of experimentation as serious as a landscape.

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#039Landscape of Iona: rocks, painting by Samuel Peploe

Samuel Peploe

Iona Landscape: Rocks

Date
1926
Technique
Oil painting
Collection
National Galleries of Scotland

In Iona, Peploe reduces rocks, sand and sea to luminous masses. The island becomes one of the essential motifs of Scottish colorists, taken up without ever being completely exhausted.

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#040Still life with a gray fan, painting by Francis Cadell

Francis Cadell

Still life with gray fan

Date
1922
Technique
Oil painting
Collection
National Galleries of Scotland

The gray fan, objects and tablecloth fit together in a refined construction. Cadell balances decorative patterns and space with the slightly insolent elegance of its interiors.

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Chapter 03

Victorian cities, highlands and stories

Edinburgh grew, lochs became national memory, and genre painting observed the home, work, faith, and conflicts of a society on the move.

#041Farm in Iona, painting by Francis Cadell

Francis Cadell

Farm in Iona

Date
1925
Technique
Oil painting
Collection
National Galleries of Scotland

Iona's farmhouse is painted in dry light that simplifies walls, fields and sky. Cadell gives the island an almost architectural clarity.

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#042The Model, painting by Francis Cadell

Francis Cadell

The model

Date
1912
Technique
Oil painting
Collection
National Galleries of Scotland

The Model occupies the workshop with a presence that resists the decor. Cadell treats the female figure as an element of composition without taking away its autonomy.

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#043The Blue Fan, painting by Francis Cadell

Francis Cadell

The Blue Fan

Date
1922
Technique
Oil painting
Collection
National Galleries of Scotland

The Blue Fan enlivens a Cadell interior with its cold color and patterns. The woman, the furniture and the object compose a scene as calculated as it is apparently natural.

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#044Thatched field, painting by Leslie Hunter

Leslie Hunter

Thatched field

Date
1923
Technique
Oil painting
Collection
National Galleries of Scotland

Hunter's thatched field advances in yellows, greens and thick touches. The agricultural landscape becomes a colorful construction, close to Fauvism without losing its Scottish climate.

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#045Moonlight on Loch Lomond, painting by Leslie Hunter

Leslie Hunter

Moonlight on Loch Lomond

Date
1924
Technique
Oil painting
Collection
collection of the Aberdeen Archives, Gallery and Museums

Under the moonlight, Loch Lomond is reduced to a few blue and dark masses. Hunter seeks chromatic agreement rather than exact mountain reading.

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#046Largo Beach at low tide, painting by Leslie Hunter

Leslie Hunter

Largo Beach at low tide

Date
1924
Technique
Oil painting
Collection
collection of the Aberdeen Archives, Gallery and Museums

In Largo, low tide reveals a beach of reflections, sand and sky. Hunter stretches the horizontal space with a light, moving color.

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#047Portrait of Mrs Mary Martin, painting by Allan Ramsay

Allan Ramsay

Portrait of Mrs Mary Martin

Date
1761
Technique
Oil painting
Collection
Birmingham Museums Trust

Ramsay paints Mary Martin in a silver dress whose reflections accompany the calm of the face. The worldly portrait becomes a study of presence rather than an inventory of wealth.

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#048Lady Anne Campbell, Countess of Strafford, painting by Allan Ramsay

Allan Ramsay

Lady Anne Campbell, Countess of Strafford

Date
1743
Technique
Oil painting
Collection
Hunterian Museum and Art Gallery

Lady Anne Campbell poses shortly after her marriage to the Earl of Strafford. Ramsay associates aristocratic rank with attentive expression, far from ceremonial stiffness.

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#049Francis Hutcheson, painting by Allan Ramsay

Allan Ramsay

Francis Hutcheson

Date
1742
Technique
Oil painting
Collection
Hunterian Museum and Art Gallery

Francis Hutcheson, philosopher of the Scottish Enlightenment, looks at the viewer with intellectual frankness. Ramsay favors the face and thought rather than scholarly accessories.

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#050John, second Baron Desart, painting by Allan Ramsay

Allan Ramsay

John, second Baron Desart

Date
1751
Technique
Oil painting
Collection
princeton University Museum of Art

John Cuffe, future Baron Desart, was represented in 1751 in the assurance of his position. Ramsay balances the precision of the costume and a reserve that protects the character of the model.

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#051Lady Sophia Desart, painting by Allan Ramsay

Allan Ramsay

Lady Sophia Desart

Date
1751
Technique
Oil painting
Collection
princeton University Museum of Art

Lady Sophia Desart forms the counterpart of her husband's portrait. The two paintings build a social couple, but Ramsay gives each a perfectly distinct presence.

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#052Portrait of Mrs Mary Wilbraham, painting by Allan Ramsay

Allan Ramsay

Portrait of Mrs Mary Wilbraham

Date
1744
Technique
Oil painting
Collection
Collection not specified

Mary Wilbraham appears in a soft light that animates the fabrics without suffocating the face. Ramsay makes elegance a frame, never the whole subject.

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#053Miss Janet Shairp, painting by Allan Ramsay

Allan Ramsay

Miss Janet Shairp

Date
1750
Technique
Oil painting
Collection
collection of the Aberdeen Archives, Gallery and Museums

Janet Shairp is painted with a sobriety that contrasts with certain court portraits. The direct gaze and calm hands give the model discreet authority.

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#054Rosamund Sargent, née Chambers, painting by Allan Ramsay

Allan Ramsay

Rosamund Sargent, née Chambers

Date
1749
Technique
Oil painting
Collection
Holburne Museum

Rosamund Sargent poses in front of a background that lets his silhouette breathe. Ramsay combines rococo grace and individual observation, a formula which soon opens the London court to him.

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#055Venus presenting Helen in Paris, painting by Gavin Hamilton

Gavin Hamilton

Venus presenting Helen to Paris

Date
1777
Technique
Oil painting
Collection
paintings Department of the Louvre Museum

Hamilton resumes the episode where Venus leads Helen to Paris, a prelude to the Trojan War. Ancient bodies become a neoclassical theater of desire and its consequences.

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#056The Oath of Brutus, painting by Gavin Hamilton

Gavin Hamilton

Brutus' Oath

Date
1765
Technique
Oil painting
Collection
yale British Art Centre

Brutus' Oath puts Roman virtue to the test of the family. Hamilton chooses the moment when public duty takes on an almost funerary gravity.

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#057Achilles mourning the death of Patroclus, painting by Gavin Hamilton

Gavin Hamilton

Achilles mourning the death of Patroclus

Date
1761
Technique
Oil painting
Collection
National Galleries of Scotland

Achilles squeezes Patroclus' body as the war stops for a moment around his mourning. Hamilton gives Homer's epic contained emotion rather than heroic gesticulation.

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#058The Binning Children, painting by Henry Raeburn

Henry Raeburn

The Binning Children

Date
date not specified
Technique
Oil painting
Collection
National Gallery of Art

Binning children are brought together in a landscape where family proximity does not prevent each character from appearing. Raeburn paints childhood with dignity, without making it artificially wise.

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#059William Fraser de Reelig, painting by Henry Raeburn

Henry Raeburn

William Fraser of Reelig

Date
1801
Technique
Oil painting
Collection
Metropolitan Museum of Art

William Fraser de Reelig stands out from a dark background by the warmth of the face and clothing. Raeburn constructs the portrait with wide passages rather than a meticulous finish.

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#060John Tait of Harviestoun, painting by Henry Raeburn

Henry Raeburn

John Tait of Harviestoun

Date
1790
Technique
Oil painting
Collection
san Francisco Museums of Fine Arts

John Tait poses as a man sure of his rank but in no way frozen by him. Raeburn's light shapes the face with that rapid frankness that brings portraits to life.

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Chapter 04

Glasgow looks at the world

The Glasgow Boys and the Glasgow Girls renew the figure, the outdoors and the modern story. Japan and Paris bring new framing, never a simple borrowed costume.

#061Sir William Napier, painting by Henry Raeburn

Henry Raeburn

Sir william napier

Date
1810
Technique
Oil painting
Collection
san Francisco Museums of Fine Arts

Sir William Napier carries military experience in his expression as much as in his uniform. Raeburn avoids the battle setting and lets the model bear the weight of his career alone.

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#062Adam Rolland of Gask II, painting by Henry Raeburn

Henry Raeburn

Adam Rolland of Gask II

Date
1800
Technique
Oil painting
Collection
Art Institute of Chicago

Adam Rolland stands in an open landscape, his body slightly turned. Raeburn combines land authority and natural laying without turning the hills into a certificate of ownership.

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#063Colonel Macdonell of Glengarry, painting by Henry Raeburn

Henry Raeburn

Colonel Macdonell of Glengarry

Date
1812
Technique
Oil painting
Collection
National Galleries of Scotland

Colonel Macdonell of Glengarry carries the tartan and the clan leader's weapons with assumed theatricality. Raeburn makes him an icon of Highland romance.

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#064View of Edinburgh from the west, painting by Alexander Nasmyth

Alexander Nasmyth

View of Edinburgh from the west

Date
1822
Technique
Oil painting
Collection
yale British Art Centre

Edinburgh appears from the west as a city organized by its hills, monuments and sky. Nasmyth combines topographical precision and the ideal of an enlightened capital.

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#065Self-portrait, painting by David Wilkie

David Wilkie

Self-portrait

Date
1804
Technique
Oil painting
Collection
National Galleries of Scotland

At twenty, Wilkie paints himself with almost provocative confidence. The self-portrait announces the acute gaze with which he will soon observe villages, families and social conflicts.

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#066Seizure for unpaid rent, painting by David Wilkie

David Wilkie

Seizure for unpaid rent

Date
1815
Technique
Oil painting
Collection
National Galleries of Scotland

Landlord seizes property of family unable to pay rent. Wilkie distributes anger, shame and curiosity between the characters without reducing poverty to easy morality.

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#067The Entry of George IV into Holyroodhouse Palace, painting by David Wilkie

David Wilkie

The Entry of George IV into Holyroodhouse Palace

Date
1828
Technique
Oil painting
Collection
National Galleries of Scotland

George IV entered Holyroodhouse during his 1822 visit, an event carefully staged by Walter Scott. Wilkie paints the monarchy encountering the newly codified spectacle of Scottish identity.

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#068The Highland Family, painting by David Wilkie

David Wilkie

The Highland Family

Date
1824
Technique
Oil painting
Collection
Metropolitan Museum of Art

The Highland family is presented in an interior where clothes, objects and gestures tell the story of daily life. Wilkie observes without transforming her models into picturesque accessories.

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#069The Peddler, painting by David Wilkie

David Wilkie

The Peddler

Date
1814
Technique
Oil painting
Collection
yale British Art Centre

The peddler opens his cash register in front of customers captivated by his goods. Wilkie transforms commercial exchange into a small scene of desire, calculation and curiosity.

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#070The Abbotsford Family, painting by David Wilkie

David Wilkie

The Abbotsford Family

Date
1817
Technique
Oil painting
Collection
National Galleries of Scotland

Walter Scott appears surrounded by his family and loved ones in Abbotsford. Wilkie makes the writer's home the setting for a sociability where literature and national identity meet.

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#071Highland landscape with waterfall, painting by Horatio McCulloch

Horatio McCulloch

Highland landscape with waterfall

Date
1835
Technique
Oil painting
Collection
National Galleries of Scotland

A waterfall cuts the Highland landscape in a white, vertical motion. McCulloch gives the mountains a dramatic scale that helps capture their romantic image.

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#072Inverlochy Castle, painting by Horatio McCulloch

Horatio McCulloch

The Inverlochy Castle

Date
1857
Technique
Oil painting
Collection
National Galleries of Scotland

The ruins of Inverlochy stand out in front of Ben Nevis in a changing light. McCulloch combines medieval history and natural immensity without letting the castle win too easily.

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#073Loch Lomond and Ben Lomond, painting by Horatio McCulloch

Horatio McCulloch

Loch Lomond and Ben Lomond

Date
1846
Technique
Oil painting
Collection
Hunterian Museum and Art Gallery

Loch Lomond leads the gaze towards Ben Lomond through a succession of water, trees and mist. McCulloch builds the Scottish panorama that has become emblematic of romantic tourism.

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#074The Painter David Scott, painting by Robert Scott Lauder

Robert Scott Lauder

Painter David Scott

Date
1839
Technique
Oil painting
Collection
National Galleries of Scotland

Robert Scott Lauder paints his brother David, a tormented artist who died very young. The portrait combines family affection and awareness of the historical ambition that animated the model.

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#075The artist's brother, Henry Lauder, painting by Robert Scott Lauder

Robert Scott Lauder

The artist's brother, Henry Lauder

Date
1826
Technique
Oil painting
Collection
National Galleries of Scotland

Henry Lauder appears in an early portrait where the dark background focuses light on the face. His brother Robert captures an intimate presence without narrative setting.

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#076The Bloody Rendezvous, painting by Joseph Noel Paton

Joseph Noel Paton

The Bloody Rendezvous

Date
1855
Technique
Oil painting
Collection
Glasgow Museums Resource Centre

The Bloody Rendezvous borrows from border walks their mixture of love, violence and fatality. Paton paints the moment when romanticism suddenly ceases to be comfortable.

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#077The Quest in a Scottish Church, painting by John Phillip

John Phillip

The Quest in a Scottish Church

Date
1855
Technique
Oil painting
Collection
York Art Gallery

In a Scottish church, the faithful search for the passages announced by the minister. John Phillip observes religious practice with precision, humor and a remarkable gallery of faces.

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#078The Presbyterian Catechism, painting by John Phillip

John Phillip

The Presbyterian Catechism

Date
1847
Technique
Oil painting
Collection
National Galleries of Scotland

A child recites his catechism in front of an attentive assembly. Phillip makes Presbyterian learning a social scene where authority and nervousness can be read in every posture.

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#079Young Spaniards playing bullfighting, painting by John Phillip

John Phillip

Young Spaniards playing bullfighting

Date
1860
Technique
Oil painting
Collection
National Galleries of Scotland

After his travels in Spain, Phillip painted young boys imitating bullfighting. Their game reflects European fascination with Spain while retaining the unpredictable energy of childhood.

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#080Self-portrait, painting by John Phillip

John Phillip

Self-portrait

Date
1863
Technique
Oil painting
Collection
National Galleries of Scotland

In his late self-portrait, Phillip presents himself with the confidence of a recognized painter. The warm color bears the mark of his Spanish stays and his nickname Spanish Phillip.

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Chapter 05

Iona and the freedom of color

Peploe, Cadell and Hunter make bouquets, interiors and shores of Iona luminous constructions where color now controls the gaze.

#081Sunday in the Canadian Hinterland, painting by Thomas Faed

Thomas Faed

Sunday in the Canadian Hinterland

Date
1859
Technique
Oil painting
Collection
Montreal Museum of Fine Arts

Scottish settlers celebrate Sunday in the Canadian hinterland. Faed connects emigration, religion and nostalgia for the country in a scene where the community tries to recreate its landmarks.

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#082Sir Walter Scott and his friends at Abbotsford, painting by Thomas Faed

Thomas Faed

Sir Walter Scott and his friends at Abbotsford

Date
1849
Technique
Oil painting
Collection
National Galleries of Scotland

Walter Scott receives his friends in Abbotsford in a vision of Scottish literary life. Faed transforms the historic meeting into a carefully populated conversation board.

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#083The Home and the Homeless, painting by Thomas Faed

Thomas Faed

The Home and the Homeless

Date
1856
Technique
Oil painting
Collection
National Galleries of Scotland

The Home and the Homeless contrasts the warmth of an interior with those who stay outside. Faed uses Victorian sentiment to make visible a very concrete social divide.

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#084Wheat field at Sandy Dean, painting by William McTaggart

William mctaggart

Wheat field in Sandy Dean

Date
1891
Technique
Oil painting
Collection
National Galleries of Scotland

Sandy Dean's wheat field advances in yellows, greens and gusts of wind. McTaggart transforms rural work into a bright experience, far from academic order.

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#085The Young Fishermen, painting by William McTaggart

William mctaggart

Young Fishermen

Date
1876
Technique
Oil painting
Collection
National Galleries of Scotland

Young fishermen play by the water while learning about the world their village depends on. McTaggart paints coastal childhood without separating freedom and risk.

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#086Leeward and Rain, painting by William McTaggart

William mctaggart

Leeward and rain

Date
1875
Technique
Oil painting
Collection
Collection not specified

Leeward and rain, the coast becomes a struggle of oblique touches. McTaggart paints less a place than a weather physically crossed by those who live there.

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#087The Story of a Lifetime, painting by William Quiller Orchardson

William Quiller Orchardson

Lifetime Story

Date
1866
Technique
Oil painting
Collection
yale British Art Centre

The Story of a Life brings together several ages around a domestic story. Orchardson uses space and objects to make time a silent character.

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#088The Queen of Swords, painting by William Quiller Orchardson

William Quiller Orchardson

The Queen of Swords

Date
1877
Technique
Oil painting
Collection
National Galleries of Scotland

The Queen of Swords borrows a cold authority figure from the card game. Orchardson gives the costume and the look a tension that goes beyond the historical anecdote.

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#089Ho! Ho! Old Noll, painting by John Pettie

John Pettie

Ho! Ho! Old Noll

Date
1874
Technique
Oil painting
Collection
Glasgow Museums Resource Centre

Pettie stages a political song around Oliver Cromwell, nicknamed Old Noll. Costumes and expressions turn the story into noisy theater.

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#090A song without words, painting by John Pettie

John Pettie

A song without words

Date
1873
Technique
Oil painting
Collection
Manchester City Art Galleries

A song without words is based on the relationship between a woman, an instrument and silence. Pettie abandons historical action for a more modern emotional ambiguity.

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#091Statesmen of the First World War, painting by James Guthrie

James Guthrie

The Statesmen of the First World War

Date
1930
Technique
Oil painting
Collection
National Portrait Gallery

Guthrie brings together Allied leaders of World War I in a huge diplomatic conversation. Official painting becomes a problem of groups, similarities and political memory.

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#092The Rocking Chair, painting by John Lavery

John Lavery

The Rocking Chair

Date
1895
Technique
Oil painting
Collection
Royal Scottish Academy

A woman rests in a rocking chair, absorbed in her own silence. Lavery makes the interior a study of light and intimacy rather than a worldly scene.

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#093Barr, Ayrshire, painting by George Henry

George Henry

Barr, Ayrshire

Date
1891
Technique
Oil painting
Collection
National Galleries of Scotland

Barr, Ayrshire, is built by large green and brown areas. Henry simplifies the countryside to the point of giving it the calm of a decorative composition.

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#094Spring in the Birch Wood, painting by George Henry

George Henry

Spring in birch wood

Date
date not specified
Technique
Oil painting
Collection
collection of the Aberdeen Archives, Gallery and Museums

Spring crosses the birch woods with white verticals and new light. Henry transforms the trees into rhythm, halfway between landscape and decorative panel.

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#095Street scene in Tokyo, painting by Edward Atkinson Hornel

Edward atkinson hornel

Street scene in Tokyo

Date
1894
Technique
Oil painting
Collection
yale British Art Centre

Tokyo Street is captured as a stream of silhouettes, signs and colors. Hornel favors overall impression over tourist precision.

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#096Arabic interior, painting by Arthur Melville

Arthur Melville

Arab interior

Date
1881
Technique
Oil painting
Collection
National Galleries of Scotland

In this Arab interior, Melville distributes shadow, carpet and architecture with a mastery acquired during travel. The space remains observed, not reduced to an interchangeable orientalist decor.

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#097Autumn, painting by Bessie MacNicol

Bessie MacNicol

Autumn

Date
1898
Technique
Oil painting
Collection
collection of the Aberdeen Archives, Gallery and Museums

Autumn places a woman in a landscape where red tones connect dress, leaves and light. MacNicol makes the season an interior state as much as a decor.

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#098Little Brother, painting by Norah Neilson Gray

Norah Neilson Gray

Little Brother

Date
1920
Technique
Oil painting
Collection
Kelvingrove Art Gallery and Museum

Little Brother brings two children together in a clear palette and compact composition. Gray observes brotherly affection without covering it with a sentimental veneer.

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#099Tennis game in the Luxembourg Gardens, painting by Samuel Peploe

Samuel Peploe

Tennis game in the Luxembourg Gardens

Date
1906
Technique
Oil painting
Collection
National Galleries of Scotland

In the Luxembourg Gardens, tennis players are integrated into a geometry of paths and trees. Peploe observes Paris before his palette reaches its full intensity.

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#100Peonies, painting by Samuel Peploe

Samuel Peploe

Peonies

Date
1902
Technique
Oil painting
Collection
National Galleries of Scotland

The peonies from 1902 emerge from a dark background with a material still inherited from Manet. Peploe transforms the flower into volume before releasing it through color.

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One hundred paintings, several Scots

This story doesn't follow a straight line. It goes from a Salon of Lights to a wind-beaten loch, from a village fair to a war hospital, then from a Japanese garden to the rocks of Iona. At each stage, Scottish painters transform influences from elsewhere into personal language.

What remains is a stubborn attention to people and places. Even when it becomes decorative, symbolist or almost fawn, this painting keeps its feet on the ground. Sometimes in mud, sometimes on ice, but rarely in boredom.

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