Contemporary Scottish art gained international recognition in the 1980s, both in terms of the increasing reputation of established artists like Alan Davie, John Bellany, Bruce McLean and Elizabeth Blackadder but also with regard to a number of important emerging painters. Many of the themes of international 'New Painting' in the 1980s - bold figuration, evocative narrative, emphatic technique and poetic atmosphere - are also characteristic of contemporary Scottish art but, as can clearly be seen here, Scottish painting has at last rediscovered its own voice. This timely book describes recent events in contemporary Scottish painting and provides fascinating profiles of 48 notable artists. This is the first major overview of contemporary Scottish painting.

In comparison with many who write about contemporary art, Hare is never self indulgent or wilfully obscure – there is no bogus theorising to be found here. From the Foreword by ALEXANDER MOFFAT Alan Davie • Eduardo Paolozzi • William Turnbull • Janet Boulton • Ian Hamilton Finlay • Joan Eardley • Anthony Hatwell • Colquhoun and MacBryde • Boyle Family • Jack Knox • Barbara Rae • Lys Hansen • Joyce Cairns • Doug Cocker • John Kirkwood • Steven Campbell • Ken Currie • Peter Howson • Henry Kondracki • Paul Reid • Iain Robertson • Douglas Gordon This book is a wide-ranging exploration of Scottish art and artists by one of Scotland's leading art historians. Navigating the intricacies of aesthetic debate with attitude and aplomb, Bill Hare examines the historical forces that have shaped Scottish art. His elegant, approachable writings are a treasure-house of informed discourse. Illuminating and perennially relevant, these essays offer stimulating perspectives and nuanced insights into the confluence of passion, mystery and myth that lies at the heart of the best of Scottish art.

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.

A case study of the relationship between arts and cultural policy and nationalism, Scotland, CEMA and the Arts Council, 1919-1967: Background, Politics and Visual Art Policy examines the overlooked significance of Scotland in the development of British arts policy and institutions. This study is broadly relevant in an era of political devolution, which continues to pose questions for the constituent nations of Britain and their sense of self- and collective identities. Euan McArthur provides a clear account of the background to and evolution of the Council for the Encouragement of Music and the Arts (CEMA) and the Arts Council of Great Britain (ACGB) in Scotland up to the formation of the Scottish Arts Council (SAC) in 1967. He also presents a study of Scottish visual art policy and activities between 1940 and 1967, assessing the successes and failures of visual art policy in Scotland, including the degree to which it evolved differently from England. This development, leading to the re-naming of the Scottish Committee of the ACGB as the SAC, prepared the way for the expansion of activities that marked the 1970s and after. Based on extensive archival research, this book brings to light previously unavailable material, not covered in existing accounts of CEMA/ACGB.

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.

Arranged alphabetically from Magdalena Abakanowicz to Tadaaki Kuwayama, this volume provides a biography of the artist, a selected list of exhibitions, a list of public collections that include work by the artist, and more.

The Rough Guide to Scotland is the ultimate travel guide to this beguiling and beautiful country. It will guide you through Scotland with reliable information and detailed coverage of all of Scotland's attractions, from the world-class cities of Edinburgh and Glasgow to its many idyllic islands. The Rough Guide to Scotland features detailed practical advice on what to see and do and how to get about, plus up-to-date reviews of the best hotels, B&Bs, shops and restaurants. Whether you're looking for traditional village pubs or want to go puffin-spotting on Shetland, it's covered. Accurate maps and comprehensive practical information help you get under the skin of Scotland, whilst stunning photography and an inspirational introduction make this your ultimate travelling companion. Make the most of your time on Earth with The Rough Guide to Scotland. Now available in epub format.

Lonely Planet: The world's leading travel guide publisher Lonely Planet Scotland is your passport to the most relevant, up-to-date advice on what to see and skip, and what hidden discoveries await you. Sip the water of life, whisky, in an ancient pub, trace the trails of the clanspeople fleeing Glen Coe, or play a round in St Andrew's, golf's spiritual home -all with your trusted travel companion. Get to the heart of Scotland and begin your journey now! Inside Lonely Planet Scotland Travel Guide: Full-colour maps and images throughout Highlights and itineraries help you tailor your trip to your personal needs and interests Insider tips to save time and money and get around like a local, avoiding crowds and trouble spots Essential info at your fingertips - hours of operation, phone numbers, websites, transit tips, prices Honest reviews for all budgets - eating, sleeping, sight-seeing, going out, shopping, hidden gems that most guidebooks miss Cultural insights give you a richer, more rewarding travel experience - castles, lochs & mountains, islands, literature, food & drink, museums, culture, wildlife, the land Free, convenient pull-out Edinburgh map (included in print version), plus over 50 colour maps Covers Edinburgh, Glasgow, Highlands & Islands, Inverness & the Central Highlands, Orkney & Shetland and more The Perfect Choice: Lonely Planet Scotland , our most comprehensive guide to Scotland, is perfect for both exploring top sights and taking roads less travelled. Looking for a guide focused on the Highlands and Islands or Edinburgh? Check out Lonely Planet Scotland's Highlands and Islands guide for a comprehensive look at all these regions have to offer; or Pocket Edinburgh a handy-sized guide focused on the can't-miss sights for a quick trip. About Lonely Planet: Since 1973, Lonely Planet has become the world's leading travel media company with guidebooks to every destination, an award-winning website, mobile and digital travel products, and a dedicated traveller community. Lonely Planet covers must-see spots but also enables curious travellers to get off beaten paths to understand more of the culture of the places in which they find themselves. The world awaits! 'Lonely Planet. It's on everyone's bookshelves, it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' - Fairfax Media 'Lonely Planet guides are, quite simply, like no other.' - New York Times eBook Features: (Best viewed on tablet devices and smartphones) Downloadable PDF and offline maps prevent roaming and data charges Effortlessly navigate and jump between maps and reviews Add notes to personalise your guidebook experience Seamlessly flip between pages Bookmarks and speedy search capabilities get you to key pages in a flash Embedded links to recommendations' websites Zoom-in maps and images Inbuilt dictionary for quick referencing Important Notice: The digital edition of this book may not contain all of the images found in the physical edition.

Painting Labour in Scotland and Europe, 1850-1900 explores hitherto unrecognized European variations in the phenomena of rural labour imagery, particularly in Scotland. In exploring these distinctions relative to Scotland and Europe it looks to develop a new understanding of the commonalities and idiosyncrasies of rural labour imagery which have often been treated as homogenous. Lacking the detailed analysis that has been accorded other images, writing about Scottish painting has often been appended to analyses of English or French imagery. It has generally been understood as intellectually divorced from the sometimes brutal realities of evolving Scottish nineteenth-century urbanism, or simply ignored. Painting Labour in Scotland and Europe, 1850-1900 sets out systematically to discuss the Scottish rural painting in relation to its particular Scottish historical context, both sociological and aesthetic and its English and European counterparts. Alongside canonical Scottish images by major figures such as James Guthrie, the book explores many hitherto under researched and unconsidered paintings by nineteenth-century Scottish artists, and considers them in relation to major English and Continental Realist and Romantic painters. The juxtaposition of J.F. Millet with W.D. McKay, and Edwin Landseer with George Reid makes for a volume that will appeal both to an academic audience and to one interested in European art history more generally.

Is a famous queen of Britain really bured beneath platform 10 at King’s Cross station in London? What is the telephone number of the National Theatre? what is the best place to eat in Worcester? Where is the National Bagpipe Museum? (Hint: not in Scotland) Was Pointius Pilate born in Pitlochry? The answers to these questions and literally thousands more are to be found in David Kemp’s fascinating guidebook, The Pleasures and Treasures of Britain. Nowhere else will the discerning traveller find so much diverse and essential information about British culture gathered together in one volume. With the author as your witty and knowledgeable guide, take a tour through nearly fifty cities, from Penzance to Perth, from London to Cardiff and Belfast. Each city section begins with a concise, readable history and a guided walk around the town, planned to take in as many of the significant local sights as can comfortably be included. Next are exhaustive listings, including telephone numbers and addresses, of everything a culturally curious visitor might want to seek out: theatre, art galleries, museums, antique markets, antiquarian and other bookstores, restaurants, lcoal fairs and festivals and more. Finally, under the headings of Artistic Associations and Ephemera, each section concludes with an entertaining collection of local lore, gossip, legend and anecdote.