The Printmaker’s Art: Rembrandt to Rego

A National Galleries of Scotland exhibition at the Royal Scottish Academy

2 December 2023 – 25 February 2024

Open daily, 10am-5pm

Tickets £14-£4 | Friends go free

The Printmaker's Art | Rembrandt to Rego | National Galleries of Scotland

A selection of images and credit lines are available in this Dropbox folder.

This weekend, come and discover five hundred years of boundary-pushing artwork in The Printmaker’s Art: Rembrandt to Rego, a National Galleries of Scotland exhibition at the Royal Scottish Academy in Edinburgh. From Saturday 2 December, visitors can explore four galleries packed with around 100 artworks by some of the world’s most iconic artists, including Rembrandt, Hokusai, Pablo Picasso, Andy Warhol, Bridget Riley and Paula Rego.

Bringing together the very best examples of fine art printmaking from Scotland’s national collection; The Printmaker’s Art: Rembrandt to Rego includes early woodcuts, such as Albrecht Dürer’s incredible Four Horsemen of the Apocalypse, through to bold, punchy popart idols such as Roy Lichtenstein’s Reverie and Andy Warhol’s The Cow. The exhibition also looks to the future, with a range of new artworks acquired through the Iain Paul Fund on display together for the first time. These acquisitions include work from contemporary printmakers such as Tessa Lynch, Lucy Skaer, Lucy McKenzie and Christian Noelle Charles. Visitors will also have a unique opportunity to see art on loan from public and private collections, such as exceptional prints by Katsushika Hokusai, Edgar Degas, Paul Gauguin, Yinka Shonibare and Cornelia Parker, which will grace the walls of the National (Royal Scottish Academy) especially for this exhibition.

The Printmakers Art: Rembrandt to Rego takes a striking visual journey through a fascinating spectrum of printmaking techniques. From historic trailblazers to contemporary movements, old traditions to new visions, revered artists to the creatively curious, printmaking achieves an array of distinct visual effects which would not be possible in other mediums. It is also one of the most widely accessible forms of artistic expression; starting with a basic handprint on a page, printmaking has the power to evolve into something daring, bold, provocative and new.

At the heart of The Printmaker’s Art: Rembrandt to Rego is a celebration of the skills and processes which form an integral part of this traditional yet ever evolving and much-loved artform. See films of printmakers at work and get up close to discover how you can spot an etching from a lithograph, or woodcut from wood engraving. The fundamental processes developed in the 15th century printing press are ever-present in the bustling print workshops of today. Artworks on show will demonstrate how this has evolved, including the ingenious ways contemporary artists are developing new and sustainable processes, alongside utilising digital technologies, to secure the future of printmaking for generations to come.

Scotland’s printmaking story is key to the exhibition, not only through the artworks on display, but through a series of films from print studios across the country at the forefront of contemporary printmaking. There is also a unique opportunity for visitors to see the tools and working materials used to make prints featured in the exhibition, on loan from the artists themselves.

Sir John Leighton, Director-General of the National Galleries of Scotland said: “Printmaking is an enduring art form that continues to capture the imagination and ignite a spark of inspiration. The Printmaker’s Art: Rembrandt to Rego at the National (Royal Scottish Academy) offers an exciting opportunity to see some of the most popular works from Scotland’s national collection alongside several important loans. The exhibition gives visitors a chance to come face to face with many revered artists from the last five hundred years, all while discovering more about this beloved practice. This is also a chance to put our homegrown printmakers in the spotlight, proudly displaying work by contemporary artists who are consistently pushing the boundaries of creativity in Scotland and beyond.”

Laura Chow, Head of Charities at People’s Postcode Lottery said: ‘It’s fantastic that players are enabling the galleries to share its collections, with their contributions helping to bring the benefits of art, culture and exhibitions like The Printmaker's Art: Rembrandt to Rego, to the widest possible audience. This exhibition invites us all to discover the stories that connect us across centuries, as we learn the fascinating differences in printmaking techniques.”

The Printmaker’s Art: Rembrandt to Rego opens at the National on Saturday 2 December 2023.

Tickets are on sale now.

• Indulge your wanderlust with Lavery on Location
• March in the footsteps of Women in Revolt!
• Visit Drawings from Chatsworth House
• Celebrate the 100th anniversary of Eduardo Paolozzi’s birth, in Paolozzi at 100
• Explore the first ever retrospective by Edinburgh-based artist Everlyn Nicodemus
• Meet Johannes Vermeer's A Young Woman Standing at a Virginal in Edinburgh
• See Images and Voices from Scotland’s Mining Communities 
• Immerse yourself in the work of Do Ho Suh

National Galleries of Scotland announces an extraordinary programme of unmissable free and ticketed exhibitions for 2024, on sale now. Take a trip with Lavery on Location, feel empowered by Women in Revolt!, get lost in Drawings from Chatsworth House, marvel at the eccentric world of Paolozzi at 100 or embrace the defiant and inspiring works of Everlyn Nicodemus, there is even more to be discovered across all three gallery sites in Edinburgh.

Visitors can indulge their wanderlust in National Galleries of Scotland’s summer exhibition at the Royal Scottish Academy, An Irish Impressionist: Lavery on Location, from 20 July 2024 to 27 October 2024. Dip your toes in the sun, sea and society of the late 19th and early 20th centuries, through the works of renowned Glasgow Boy, Sir John Lavery. Travel through the extraordinary life of the Belfast born artist, from Scotland to New York via Paris and Morocco. Witness sumptuous portraits, impressionistic landscapes and idyllic scenes of leisure against a backdrop of Tangier, Palm Springs and the Venice Lido. Be whisked away to Switzerland, Spain, Ireland and Italy, as well as cities such as Glasgow, Seville, Monte Carlo and New York.

At Modern Two, be inspired by stories of collaboration, creativity and rebellion as National Galleries of Scotland presents Women in Revolt! Art and Activism in the UK 1970-1990 from 25 May 2024 to 26 January 2025. Touring from Tate Britain, this major survey of feminist art celebrates the women who challenged and changed the face of British culture. Discover the powerful and often provocative work of over 100 artists and collectives forged against the backdrop of seismic social, economic and political change over two decades. Women in Revolt! explores key themes and issues, such as the Women’s Liberation Movement, Punk and independent music, the visibility of Black and South Asian women artists and the AIDS epidemic. Showcasing painting, drawing, textile, sculpture, performance, film and photography alongside archival materials – with many artworks on display as part of this tour for the first time since the 1970s – this timely and urgent show is one not to be missed.   

For the first time ever in Scotland discover Dürer to Van Dyck: Drawings from Chatsworth House, home to the Devonshire family. From 9 November 2024 - 23 February 2025 get a closer look at one of the finest and most significant holdings of drawings anywhere in the world, at the Royal Scottish Academy. A spectacular group of 50 Flemish, Dutch, Early Netherlandish, and German drawings and watercolours, spanning from about 1500 to 1700, will be exhibited. Look forward to stunning drawings by Rembrandt, Holbein, Rubens, Dürer, van Dyck and more. Not to be missed, this exhibition is exclusive to the National Galleries of Scotland.

In January 2024 celebrate 100 years since the birth of Scottish 'father of Pop’ Eduardo Paolozzi at Modern Two. Packed with the artist’s most popular works, Paolozzi at 100 allows you take a step inside the whacky and eclectic mind of the artist and his take on popular culture and the machine age. Tour through his early work from the late 1940s, to his designs and prints of the 60s and 70s, and later epic public art projects. Delve in to works such as his Mickey Mouse tapestry made with Dovecot Tapestry Studio and graphic and gold ceramic plate collaborations designed with Wedgwood. Marvel at his colourful mosaic designs for Tottenham Court Road Underground station, and don't miss the kinetic energy of the Calcium Light Night and Moonstrip Empire news screenprints. Free to visit, Paolozzi at 100 runs from 27 January 2024 to 21 April 2024.

Marking the bicentenary of the National Gallery in London, we have National Treasures: Vermeer in Edinburgh. This incredible artwork A Young Woman Standing at a Virginal comes to Scotland, presenting a unique chance to see two works by Vermeer at the National in Edinburgh. Compare one of Vermeer’s later works with one of his earliest surviving paintings, Christ in the House of Martha and Mary which is on permanent display at the National. A Young Woman Standing at a Virginal will open on 10 May 2024, the 200th birthday of the National Gallery, along with the rest of the National Treasures programme across the UK.

Explore the history and lasting impact of coal through photographs and voices from Scottish mining communities, as National Galleries of Scotland responds to the 40th anniversary of the Miners’ Strike of 1984. In a powerful free exhibition at the Portrait from 23 March 2024 until September 2024, Before and After Coal: Images and Voices from Scotland’s Mining Communities hears from those who are the lifeblood of these, once booming, areas. In 1982, American photographer Milton Rogovin came to Scotland to photograph Scottish miners – at their pits, in their homes, and during their leisure time. Artist, Nicky Bird has updated Rogovin’s documentation of these communities by meeting with individuals and families connected with the photographs, who share their views on the past and the present in these former mining towns and villages.

From 19 October 2024 – 25 May 2025 get ready for the first ever retrospective exhibition by Tanzania-born, Edinburgh-based artist, Everlyn Nicodemus at Modern One. Discover works spanning 40 years of the artist’s life, as well as new works created especially for this show. This inspiring free experience is made possible by the prestigious Freelands Award won by Everlyn Nicodemus and National Galleries of Scotland in 2022 Believing that creativity can be a form of healing, her exceptional artworks are a powerful response to the global oppression of women, the profound impact of racism and her personal trauma and recovery. Experimenting with colour, form and mark making her practice invites us to explore and question our understanding of identity, belonging and faith. This ambitious exhibition celebrates Nicodemus as a painter deeply invested in the social fabric of her time. It will be accompanied by an inclusive and welcoming programme of community engagement, taking inspiration from the artist’s collaborative ways of working.

The much-loved Turner in January returns to the Royal Scottish Academy. The free annual display of these watercolours is a keenly awaited tradition for many people in Scotland. At the dawning of the New Year, as we leave behind the darkest days of winter, the bright vitality of Turner’s watercolours is just what we need.

There is also the chance to see further works by Turner at Duff House. National Galleries of Scotland hold the only complete set of Turner’s finished vignette illustrations that remain together in the same collection; these form his 20 watercolours for The Poetical Works of Thomas Campbell, published by Edward Moxon in 1837. For the first time in over 20 years, these illustrations are on show at Duff House for selected dates until Sunday 24 March.  Also on display at Duff House until Sunday 25 August 2024 is the iconic portrait of the infamous romantic poet Lord Byron by William Edward West, 1822.

Launched in 2009 in partnership with Tate, the hugely successful ARTIST ROOMS programme will continue to share the superb collection of modern and contemporary art across Scotland and the rest of the UK. Exhibitions in 2024 include Louise Bourgeois at Aberdeen Art Gallery and Museum from 2 March 2024 to 9 June 2024 and Vija Celmins at Dunoon Burgh Hall from 17 May 2024 to 18 August 2024.

A first for National Galleries of Scotland and for Scotland, immerse yourself in the wondrous imagination of one of the world’s leading contemporary artists, Do Ho Suh: Tracing Time, from 17 February 2024 – 1 September 2024. In this major solo exhibition by the South Korean-born, London- based artist, experience works, some never-before-seen, that ask: where and when does home exist? Discover the artist’s compelling and technically innovative thread drawings – in which multicoloured threads are embedded in handmade paper – shown alongside animations, architectural rubbings, paper sculptures, printmaking, watercolours and the artist’s sketchbooks. This free exhibition takes over an entire level of Modern One, with works spanning 25 years of the artist’s practice. The exhibition includes an immersive installation of Suh’s famed ‘hubs’, life-size sculptures that recreate physical spaces meaningful to the artist and his life in colourful, translucent fabric. In this wide-reaching and timely exhibition, drawing is the connective thread that binds together Do Ho Suh’s creative energies.

Opening this winter, discover 500 years of boundary-pushing artwork in The Printmaker’s Art: Rembrandt to Rego at the Royal Scottish Academy in Edinburgh. At this National Galleries Scotland exhibition, visitors can explore four galleries packed with around 100 artworks by some of the world’s most iconic artists, including Rembrandt, Hokusai, Pablo Picasso, Andy Warhol, Bridget Riley and Paula Rego. The Printmaker’s Art: Rembrandt to Rego is on from 2 December 2023 until 25 February 2024.

Summer 2024 will also see a celebratory display of two rooms of works by internationally renowned Scottish artist Bruce McLean, to mark his 80th birthday. Free to visit at Modern One, trace Bruce’s humorous and lively six-decade long inquiry into sculpture and revel in his criticisms of the art world from within. Through works made across a range of media – including photography, performance, painting, printmaking, film, and ceramics – this display invites you to challenge your thinking about sculpture and expand your ideas of what it can be. You’ll also be met with works that reveal Bruce’s fascination with every aspect of human behaviour. From the trivial to the outright brash, you’ll encounter gestures, manners, the ‘theatre’ of social interaction, and the style and posturing of those who are intent to impress. Sharp, witty and satirical, this unmissable display showcases the breadth of Bruce’s boundary-pushing work across two rooms and spotlights him as one of the most important artists of his generation.

In 2024 the National Galleries of Scotland will mark a significant 40 years since the beginning of its photography collection, with a spectacular exhibition at the Portrait. Showcasing the birth of photography through to the present day, the exhibition celebrates Scotland’s world-renowned collection.

Sir John Leighton, Director-General of the National Galleries of Scotland said: “There is so much for visitors to look forward to next year at the National Galleries of Scotland, with our tantalising 2024 exhibition programme. Whether immersing yourself in Sir John Lavery’s idyllic beach scenes, soaking up the history of Women in Revolt! or stepping into the eclectic world of Eduardo Paolozzi, there is something for everyone to enjoy. Our four galleries are yours to discover, from the world’s greatest collection of Scottish art at our new Scottish galleries, international highlights at the National, the very best contemporary art at the Modern and famous faces from history to pop culture at the Portrait, we can’t wait to welcome you.”

For more on upcoming exhibitions and displays, and to get tickets, visit What's on | National Galleries of Scotland

The City of Edinburgh Council has granted planning permission for the National Galleries of Scotland’s exciting new community space, conservation, research and art storage facility in the heart of Granton, North Edinburgh. The Art Works will form part of the wider regeneration of the Granton area, and will be located on a brown field site west of Madelvic House on Granton Park Avenue, within one of Scotland’s most diverse yet socioeconomically deprived areas.

The state of the art facility is designed with an innovative dual purpose, that goes beyond traditional art storage. While it will hold Scotland’s renowned art collection, it aims to make it more accessible than ever before to explore the nations art. The Art Works will also contribute to the wellbeing and investment in the local area, offering community spaces for use by local residents, community groups and the wider public, all under one roof. Offering an additional 11,000m² of quality space – the equivalent of two playing fields – the facility aims to make a major contribution to enhancing the local community for the long term.

The Art Works will be a world-class home for more than 120,000 works of art to be stored, cared for, conserved, and researched, while not on display in a gallery. Storing Scotland’s extraordinary national collection in a completely new way, the public will be able to explore, discover, and engage with the art like never before. The building will also be a key focal point for community investment, pride and growth. Inside there will be spaces for public use, including social areas and amenities for visitors’ comfort and enjoyment, such as a community studio, community support space, further education rooms and a Changing Places toilet. The Changing Places opens up the spaces for even more people to visit. These specially designed toilets enable those who need extra equipment and space to use the toilets safely and comfortably.

Sustainability is central to the National Gallery of Scotland’s vision for The Art Works. The plans include sustainable building practices which minimise energy impact and provide quality of life opportunities for the local community. As the country’s largest cultural building designed to the Passivhaus standard, it will go beyond what is required by the Scottish Building Standards. It will be climate resilient and decarbonise the care of the nations collection.

Alongside enabling the National Galleries of Scotland to develop a vastly improved digital offering, the purpose-built facility will deliver a modern environment in which members of the public, colleagues, students and researchers can engage with the art stored there. The historic collection of the Royal Scottish Academy will also be housed in the new building and it will also be home to the Demarco Archive. Outside, there will be activity areas that bring the natural environment to life, including new green routes through to Granton Waterfront.

Accessible to all, The Art Works will attract and inspire local visitors and communities right through to specialist researchers in Scotland and from across the world. Several projects with local partners are underway, with completed projects including a collaboration with local charities and social enterprises to make 1000 art-themed face coverings for local people and visits for nursery groups to enjoy the community orchard. 

Previously known as the National Collection Facility, proposals for a building of this kind have been in the early stages of concept development since 2015. Now known as The Art Works, the project aims to bring Scotland’s vast and extraordinary national art collection into a single, future-proofed location. 

The national collection is currently stored across several sites where access and space are extremely limited, logistics are difficult, and conditions are suboptimal for enabling the full potential for public access, conservation and research to be realised. It also means it can be challenging for works to be made available for display and loan. The Art Works will be instrumental in addressing these issues, enabling much greater access to and engagement with Scotland’s incredible collection of art treasures. The facility safeguards the future of this publicly owned, renowned national collection. 

Sir John Leighton, Director-General of the National Galleries of Scotland, said: ‘We are delighted to have received planning permission for The Art Works. We are committed to continuing work with the Council and other strategic partners to play our part in shaping and informing the development of north Edinburgh. Our project has the potential to be a huge catalyst for change in the local community and at national levels. The Art Works will allow National Galleries of Scotland to share its collection much more effectively across the nation and to bring the benefits of art and culture to the widest possible audience.’

Further information can be found at www.nationalgalleries.org/theartworks

National Galleries of Scotland has today [Monday 23 October] announced the appointment of Anne Lyden as its new Director-General. Bringing a wealth of experience, most recently as Interim Co-Director of Collection and Research, Lyden will be the first female Director-General of the National Galleries of Scotland in its history. Current Director-General, Sir John Leighton, will step down on 31 December 2023 following a 17-year tenure and Lyden will take up the role on 1 January 2024.

The National Galleries of Scotland is home to Scotland’s superb art collection, with three galleries in Edinburgh. At the National, Modern and Portrait galleries visitors can discover treasures from Botticelli to Titian, the very best modern art, famous faces and contemporary portraits of pop culture icons, and the largest collection of Scottish art in the world. As well as conserving and researching the national collection, the National Galleries of Scotland is committed to reaching the widest possible audience through an active programme, including partnerships across Scotland, the UK and abroad, as well as online.  As Director-General, Lyden will work with the National Galleries of Scotland Board of Trustees, Leadership Team, colleagues across the organisation, and a great many donors and stakeholders to make art work for everyone.

Born in West Dunbartonshire, Anne Lyden grew up in Clydebank and studied History of Art at the University of Glasgow, and Museum Studies at the University of Leicester. She held various curatorial positions at the J.Paul Getty Museum in Los Angeles, where she worked for 18 years (1995-2013) latterly in the role of Associate Curator before joining the National Galleries of Scotland. As International Photography Curator (2013-2019) and then Chief Curator, Photography (2019-2022), Lyden curated numerous exhibitions including Coming Clean: Graham Macindoe (2017), A Perfect Chemistry: Photographs by Hill & Adamson (2017), and ARTIST ROOMS—Self Evidence: Photographs by Woodman, Arbus and Mapplethorpe (2019). In 2022, she became Interim Co-Director of Collection and Research where she led a directorate, overseeing the public programme across three sites and building on several research initiatives to widen accessibility and representation within the collection. Author of numerous publications, Lyden has written widely on the subject of photography and art.

The process of recruiting the new Director-General began earlier this year and was led by the Chair of the National Galleries of Scotland Board of Trustees, Benny Higgins, and a committee of Trustees.

Benny Higgins, Chair of National Galleries of Scotland Board of Trustees, said: “I am thrilled that we have appointed Anne Lyden as our new Director-General. Anne brings a strong understanding of the national collection and our talented people, together with extensive international experience.  

Over the past few months, we embarked on a rigorous search to find our next Director-General, resulting in us speaking to many people across the UK and internationally. Following a thorough recruitment process, we know we have the right person to lead the National Galleries of Scotland into the future.  

Anne’s strong personal values and leadership style, coupled with her knowledge of art, will see us deliver on our strategic commitments and I am looking forward to working with her.”

Anne Lyden, Director-General designate of the National Galleries of Scotland, said: “I am looking forward to this incredible opportunity to lead the National Galleries of Scotland in the next chapter of its impressive history.

It is my great privilege to continue the excellent work led by Sir John and colleagues over the years, most recently the success of the new Scottish galleries at the National. I am eager to continue my work with Trustees, colleagues, community partners, audiences, artists, and supporters in realising our plans for the future including The Art Works, our new collections facility in North Edinburgh. Having worked with the national collection and a wide range of colleagues over the last ten years, I am delighted to continue this experience of making art accessible to everyone.”

Sir John Leighton, outgoing Director-General of the National Galleries of Scotland, said: “Anne Lyden is a highly talented curator and leader with a strong commitment to inclusion and diversity. She has a compelling vision of the benefits that access to great art can achieve in these volatile times and is the right person to drive forward the National Galleries’ commitment to bringing world-class art to the widest possible audience.”

Grayson Perry: Smash Hits 

National Galleries of Scotland: National (Royal Scottish Academy) 

Open now, closing on Saturday 12 November 2023. 9am-5pm daily

Extended opening hours on Friday 10, Saturday 11 and Sunday 12 November 2023: 9am-9pm  

Grayson Perry | National Galleries of Scotland

National Galleries of Scotland has announced extended opening hours throughout the final weekend of its blockbuster exhibition, Grayson Perry: Smash Hits, at the National (Royal Scottish Academy) due to phenomenal demand. To make sure everyone can see Grayson Perry: Smash Hits, the Royal Scottish Academy will be open from 9am until 9pm on the 10, 11 and 12 November, with tickets on sale now.  

Only a few more weeks remain to explore the remarkable 40-year career of contemporary cultural icon, Sir Grayson Perry. On show exclusively in Edinburgh, the exhibition has exceeded all expectations, welcoming over 10,000 people in the first two weeks alone. Visitors can see over eighty works, including richly detailed tapestries, subversive pots and elaborate plates - some of which are on display for the first time. 

Grayson Perry: Smash Hits has been developed in close collaboration with the artist. Much like Perry, the exhibition doesn’t play by the rules, renouncing traditional chronological displays in favour of presenting Perry’s work as a journey. Smash Hits leads audiences through the many themes embedded within his provocative art, including masculinity, sexuality, class, religion, politics and identity. There’s also a chance to tour Smash Hits with the artist himself, through a free audio guide of 19 works, available via Smartify. Let the artwork come to life through Perry’s engaging and witty commentary, as he discusses the wide range of inspirations and stories locked within each object. 

The exhibition brings together Perry’s meticulously detailed prints and imaginary maps along with many of his tapestries. This includes the rarely shown Walthamstow Tapestry (2009) which, at a striking 15-metres in length, presents a birth-to-death journey through shopping and brand names. There’s also an opportunity to encounter the intricate cast-iron ship, Tomb of the Unknown Craftsman (2011). A collection of new works, some completed this year, have been presented to the public for the first time, including the tapestry Sacred Tribal Artefact (2023), and a series of pots and plates exploring themes of national identity. Perry’s latest pots, such as A Plague of Diaphobia (2022) and Ye Olde English Pot (2023), are presented in the form of medieval beer flagons. Decorated with traditional slipware techniques, they reference subjects ranging from the polarising effect of internet to heraldic iconography.  

Sir John Leighton, Director-General of the National Galleries of Scotland, said: “It has been a privilege to see the excitement and enthusiasm shown towards Grayson Perry: Smash Hits since it opened in the summer. With thousands of visitors pouring through the doors every week, the demand for Sir Grayson Perry’s inspiring body of work is evident. The National Galleries of Scotland are delighted to announce our extended opening hours to during the exhibition’s final run. We hope they can allow as many people as possible to see the largest exhibition of Sir Grayson Perry’s work before we must close the doors in November.” 

Visitors can take advantage of a bumper three days to say a fond farewell to what has been a truly smashing experience. Don’t miss the final chance to see Grayson Perry: Smash Hits at the National (Royal Scottish Academy). 

National Galleries Scotland: Portrait  

7 October 2023 – 3 March 2024 

Free Entry  

Making Space | Photographs of Architecture | National Galleries of Scotland 

Take a visual journey through the history of architecture and explore the connection between people, places and photography in the National Galleries of Scotland’s new exhibition, Making Space: Photographs of Architecture. Opening on Saturday (7 October) at the Portrait gallery in Edinburgh, the exhibition focuses on one of the most enduring themes in the story of photography: architecture. With over 40 photographs from the 1840s to the present day to see, Making Space is the fourth instalment in a popular series of free exhibitions which explores the richness of Scotland’s national photography collection. 

Generously supported by players of People’s Postcode Lottery, and awarded funds by Postcode Culture Trust, Making Space not only considers the integral role of architecture in the history of photography, but also how buildings impact everyday life. Architecture has the power to tackle inequality, address social issues including homelessness, poverty and displacement, and even create a more sustainable future; key themes considered throughout the exhibition.  

Visually engaging and physically static, buildings were the perfect subjects for early photography, with the evolving built landscape continuing to inspire photography enthusiasts today. From the dawn of its invention to new techniques of today, Making Space spans the breadth of photographic history. The exhibition invites visitors to peer through the camera lens and uncover a diverse range of photographic styles, formats and processes. From Hill & Adamson’s early experiments on Edinburgh’s Calton Hill to spectacular contemporary photographs which capture the breathtaking scale of modern buildings. Standout modern works include Andreas Gursky’s San Francisco which goes on display at the Portrait for the first time since its acquisition in 1999. Deliberately disorientating, Gursky uses digital manipulation to challenge perception, with humans often appearing insignificant and dominated by their built environment. The exhibition also features three key loans from Tate, including work by renowned photographers Bernd and Hilla Becher, Candida Höfer and Hiroshi Sugimoto. 

Making Space introduces several acquisitions made by National Galleries of Scotland in recent years, including six works from Scottish photographer Chris Leslie’s Disappearing Glasgow series and a further six from Canadian born Sylvia Grace Borda’s project exploring modernist architecture in East Kilbride. Untitled (Rosemary and Ocean) and Untitled (Sweetbriar and Atlantic) by Philadelphia based photographer Mark Havens round off the new acquisitions, with his colourful works gifted to National Galleries Scotland in 2019. 

The social history of Scotland plays a central role within Making Space, with some of the earliest work providing a window into Scotland’s past, and more recent work tackling the issues of today. Historic highlights include David Octavius Hill and Robert Adamson’s photographs from the early 1840’s, depicting the construction of Edinburgh’s Sir Walter Scott Monument. These iconic images not only record the birth of one of the Scottish capital’s most recognisable manmade features, but also provide the first known photographic documentation of a building site.  

Heading west to Glasgow, Thomas Annan's The Old Closes and Streets of Glasgow series offers a 19th century view on what could also be considered a 21st century problem – the housing crisis. In documenting the overpopulation in the east end of the city, Annan used photography to highlight inequality and push for change. This collection of photographs is now recognised as pivotal to documentary photography, offering visitors insight into an important moment in history. Linking historic photographs to the present day are a wide variety of contemporary works from across Scotland. Picking up where Thomas Annan left off, albeit over a century later, Leslie’s Disappearing Glasgow series documents stories from the people on the frontline of the city’s extensive demolition and regeneration programme. Following years of decline, Glasgow’s Red Road Flats were eventually demolished in 2013, with former residents watching from the sidelines. The building’s demise and subsequent social impact have been carefully recorded by Leslie.  

At the other end of the spectrum, the work of Sylvia Grace Borda tackles the evolving nature of architecture and the ways in which it can be used to improve society. Designed in 1947 and widely considered one of the most complete Modernist towns in the UK, East Kilbride was constructed to relieve pressure from an overpopulated Glasgow. A visual record of the town was created by Borda between 2005-2017, highlighting not only the modern architecture, but the green spaces, integrated public services and homes flooded with natural light, showing what architectural design can achieve when the needs of people are at its heart. 

Sir John Leighton, Director-General of the National Galleries of Scotland said: “This continued series of free exhibitions at the Portrait Gallery is a fantastic way to explore the history of photography though the richness and diversity of the national collection. Making Space: Photographs of Architecture presents an opportunity to not only marvel in the evolution of photography, but also consider the impact our built environment has on society, health, and sustainability. We are proud to present several new acquisitions by contemporary photographers from Scotland and beyond, displayed for the first time alongside work by the trailblazers who inspired them.” 

Laura Chow, Head of Charities at People’s Postcode Lottery, said: “Architecture impacts us in ways we don’t often realise - the built environment around us affects how we feel. Our players have raised over £5 million in funding for the National Galleries of Scotland. I’m delighted that this money means exhibitions like Making Space are free for everyone to enjoy and learn more about architecture and how it impacts people's lives across Scotland.” 

Making Space: Photographs of Architecture opens at the Portrait on Saturday 7 October. 

The National Galleries of Scotland is delighted to announce that the stunning new Scottish galleries at the National will open to the public this Saturday (30 September 2023). A free experience for everyone to enjoy, right in the heart of Edinburgh’s city centre, the new Scottish galleries at the National showcase the very best historic Scottish art. With 150 years of Scotland’s art to discover in the contemporary and fresh new spaces, visitors are sure to recognise some much-loved favourites as they travel through the galleries. 

Transforming the visitor experience and more than doubling the physical display space, 12 breathtaking galleries allow visitors to dive into dramatic landscapes, encounter iconic images and be wowed by art from 1800 to 1945. Spectacular views over the city entice visitors to come in and discover the work of pioneering Scottish artists such as William McTaggart, Anne Redpath, Phoebe Anna Traquair, Charles Rennie Mackintosh and the Glasgow Boys.  

The new Scottish galleries at the National will bring the nation’s artistic heritage to life – from much-loved Scottish Colourists as well as major works from the first half of the twentieth century to stellar works from the early 1800s onwards. New ways of looking at Scotland’s natural and built environments will be on offer, with early photographs of Scotland’s capital city shown in the same spaces as grand paintings of majestic Highland landscapes, including works such as Landseer’s Monarch of the Glen. Reimagined displays of drawings and sketches will celebrate artists such as Glasgow Style pioneer Margaret Macdonald Mackintosh and Alloa-born David Allan, whose depictions of ‘Edinburgh Characters’ will allow visitors to get up close to street life in the Scottish capital in the late eighteenth century.  

The new galleries are easier to access than ever before, to ensure that the greatest number of people can discover the fascinating Scottish art on display. They have an accessible path in east Princes Street Gardens, new lifts, a partial changing place facility, accessible entrance, accessible toilets and a pram store. These fresh new spaces will showcase the nation’s magnificent collection of historic Scottish art in new and engaging ways. With a series of new trails, audio guides and events, there is something for everyone to enjoy.  

With even more to explore across the National, there will also be five new international hangs at the Mound level to enjoy, offering in total over 460 artworks to discover. These galleries feature international superstars such as Poussin, Gauguin, Monet, Chardin and Canaletto. The new Scottish galleries at the National also includes three new areas specifically designed to display drawings and other fragile artworks, which will change regularly throughout the year.   

Sir John Leighton, Director-General of the National Galleries of Scotland, said: “With this project we set out to transform the experience of visiting the National and to show the world’s greatest collection of Scottish art with real pride and ambition. With the new Scottish galleries at the National, we have achieved these aims and more. The gallery is more accessible than ever before and there is a stunning new display of 150 years of Scottish art in all its richness and depth. From this Saturday, everyone is welcome to discover a brilliant new experience, free, in the heart of our nation’s capital.”  

Culture Secretary Angus Robertson said: “The National Galleries of Scotland has the world’s finest collection of Scottish Art and I’m delighted that the new galleries will now have space to showcase this to a national and international audience. We have supported this redevelopment project from the start with a significant contribution of £15.25 million and it’s wonderful to see the new galleries open, allowing everyone to enjoy them.” 

Caroline Clark, The National Lottery Heritage Fund Director for Scotland said: “National Galleries of Scotland have created a truly world-class facility showcasing Scotland’s distinctive and internationally important artistic heritage. This iconic building at the heart of Edinburgh’s World Heritage Site is safeguarded for the future, creating a focus for our cultural and economic renewal. We are proud and excited to welcome the world to Edinburgh to enjoy the new galleries. We believe heritage helps us to understand who we are and where we are from; and so, we join with the National Galleries of Scotland in declaring this is a place for the people of Scotland. Our support for this project is thanks to National Lottery players and we encourage them to visit as soon and often as they can." 

The total project cost is £38.62 million. This has been funded by major contributions from the Scottish Government (£15.25m) and The National Lottery Heritage Fund (£6.89 million). An extremely successful fundraising campaign raised over £16m thanks to an extraordinarily generous response in donations from trusts, foundations, Patrons, the National Galleries of Scotland’s Friends organisation, American Patrons and a wide range of private individuals.  

​New Scottish galleries at the National opening 30 September

• New light-filled spaces will showcase Scotland’s historic art in ten new rooms
• The highly complex construction project is now complete, with challenges overcome to provide quality new spaces for the world’s most important collection of Scottish art
• Funded by Scottish Government, National Lottery Heritage Fund and a hugely successful fundraising campaign

The National Galleries of Scotland is delighted to announce that the stunning Scottish galleries at the National will open to the public on 30 September 2023. The new spaces will be home to key works from the nation’s historic Scottish art collection, offering more than double the physical display space and transforming the visitor experience. With ten displays in the new galleries, and new trails and activities on offer, everyone can look forward to experiencing the national collection of historic Scottish art like never before.

The vision for the project has been driven by an ambition to ensure that the greatest number of people can enjoy key works that tell the fascinating story of Scottish art. The new fully accessible galleries will be entered directly from the adjoining East Princes Street Gardens and are free for all to explore. Large windows will offer spectacular views over the city, enticing visitors to come in and discover the work of pioneering Scottish artists such as William McTaggart, Anne Redpath, Phoebe Anna Traquair, Charles Rennie Mackintosh and the Glasgow Boys.

Scotland’s artistic legacy will be brought to life through much-loved Scottish Colourist paintings among other major works from the first half of the twentieth century. New ways of looking at Scotland’s built and natural environments will be on offer, with early photographs of Scotland’s capital city shown in the same spaces as grand paintings of majestic Highland landscapes. Reimagined displays of drawings and sketches will celebrate artists such as Glasgow Style pioneer Margaret Macdonald Mackintosh and David Allan, whose depictions of ‘Edinburgh Characters’ will allow visitors to get up close to street life in the Scottish capital in the late eighteenth century.

The new Scottish galleries at the National include ten galleries at Gardens level and will be home to over 130 works of art. These bright, attractive spaces will showcase the magnificent collection of Scottish art in a series of new and engaging presentations. With even more to explore across the entire National, there will also be five new international hangs at the Mound level this summer, plus two additional Scottish displays, offering over 460 artworks to discover. This includes three areas specifically designed to display drawings and other fragile artworks that will regularly change throughout the year, increasing the overall offering at the National.

Director-General of the National Galleries of Scotland, Sir John Leighton, said: “This project has been driven by an ambition to transform the experience of visiting the National and to show the extraordinary collections of Scottish art with pride in beautiful, new, light-filled spaces. We believe that we have created a National Gallery that is more open, engaging and inviting than ever before. Whether immersing themselves in the highly Romantic paintings of the Scottish Highlands, taking part in a family day or just enjoying the views, all are welcome to come and discover. We are incredibly grateful to all our funders including the Scottish Government, The National Lottery Heritage Fund, key trusts and foundations, our Patrons, American Patrons and Friends as well as the many private individuals and donors who have been so generous in supporting this project.”

Culture Minister Christina McKelvie said: “The National Galleries of Scotland has the world’s finest collection of Scottish Art and I’m delighted that the new galleries will now have space to show this off to a wide national and international public. We have supported this redevelopment project from the start with a significant contribution of £15.25 million and it’s wonderful to see this will open soon so the public can enjoy these new galleries.”

Chief Executive of The National Lottery Heritage Fund, Eilish McGuinness, said: “We are proud to have been part of the transformation of the National, which has been a source of inspiration and learning for over 150 years and holds a special place in the hearts of the Scottish people, and throughout the UK. Thanks to players of the National Lottery we have supported the project with a £6.89 million grant, from its earliest stages of planning, developing ideas and working with the team in delivering this complex and imaginative project. It’s exciting news that its now set to open its doors, inspiring generations to come, by offering a new perspective, doubling the gallery’s exhibition space, and improving access to its renowned collection of Scottish art. Having seen the project in its delivery I am now really looking forward to my first visit to the finished new gallery in September.”

The construction of the new galleries was one of the most complex engineering projects undertaken in a heritage building in Scotland; working within the constraints of a World Heritage site, above railways tunnels and excavating beneath a category-A listed building. Several issues were discovered when the 1970s building was fully stripped back to its core concrete structure. These included multiple instances of undocumented asbestos deposits which required safe removal; damp and water ingress issues which substantially changed the extent of the waterproofing requirements and undocumented obstructions including remnants from previous developments, which added significant complexity to the building work. Deeply buried layers of dense concrete had to be extracted, impacting on the sequencing of the works while managing the unique complexity of the engineering works. All these challenges were successfully overcome to create generous, high-quality new spaces for the world’s most important collection of historic Scottish art.

The total project cost is £38.62 million. This has been funded by major contributions from the Scottish Government (£15.25m) and The National Lottery Heritage Fund (£6.89 million). An extremely successful fundraising campaign raised over £16m thanks to an extraordinarily generous response in donations from trusts, foundations, Patrons, the National Galleries of Scotland’s Friends organisation, American Patrons and a wide range of private individuals.

Commenting on the success of the campaign, Sir John Leighton, said: “We are thrilled to report on the success of our fundraising campaign for this project. The strong and unwavering backing from Scottish Government and from The National Lottery Heritage Fund provided a really robust platform for our fundraising efforts and we were delighted by the generous response to this project by so many trusts, foundations and private individuals. We are extremely grateful to all our funders for their incredible support.”

While construction has been ongoing, a wide programme of engagement and outreach for the project has also been delivered. This has included activities in schools from Fife to Orkney and West Lothian, social groups for older people experiencing loneliness in Edinburgh, and youth groups in the Borders. This exciting programme of activity will continue to engage with communities after the opening. A series of engaging videos about star works of art from the Scottish collection has also been produced, and a painstaking monumental conservation project gripped online audiences during lockdown. View a fly-through animation of the new Scottish galleries at the National and visit our website hub to discover more stories about the project, Celebrating Scotland’s Art: The new Scottish galleries at the National

-ENDS-

Notes to Editors

For interview and image requests, please contact us at +44 (0)131 624 6314, [email protected]

Background information on the new Scottish galleries at the National:

• The construction began in October 2018. The first phase of the project was completed successfully in 2019. This included a new entrance area in East Princes Street Gardens, a new café, refurbished restaurant and shop, an elegant sandstone terrace, and new landscaping and paths to improve access to the gardens and the galleries.

• The construction has been complex. Situated within a World Heritage Site the galleries are part of an iconic A-listed nineteenth-century building with several major modern additions from the late 1960s onwards. The creation of new gallery spaces has entailed extensive excavation underneath the existing building and its setting on the Mound. The National is also sited above the three rail tunnels, some of the busiest in Scotland.

• The new Scottish galleries at the National have been designed by one of Scotland’s leading architectural practices, Hoskins Architects. Exhibition design is by award-winning firm, Metaphor.

Grayson Perry: Smash Hits 

The National (Royal Scottish Academy) 

22 July – 12 November 2023  

Grayson Perry | Smash Hits | National Galleries of Scotland 

A selection of images and credit lines are available in this Dropbox folder 

National Galleries of Scotland invites audiences to discover a contemporary cultural icon this summer, as it proudly unveils the largest ever exhibition dedicated to the work of Sir Grayson Perry. Taking over the entire Upper Galleries of the Royal Scottish Academy, Grayson Perry: Smash Hits offers visitors a chance to embark on an exclusive retrospective journey through the celebrated artist’s remarkable 40-year career. National Galleries of Scotland hosts the one and only opportunity to see this exhibition, granting all who pass through the doors of the Royal Scottish Academy an audience with Perry’s lifetime of creation. This comprehensive exhibition, which encompasses more than eighty works, some of which displayed for the first time, has been developed in close collaboration with the artist and Victoria Miro gallery. Grayson Perry: Smash Hits has been kindly sponsored by the Jigsaw Foundation and Friends of National Galleries Scotland. 

Sir Grayson Perry has gone from taking evening classes in pottery to winning the Turner Prize. He’s renowned for presenting television programmes on Channel 4, writing acclaimed books and commanding audiences far and wide during his live tours. An artist in every sense of the word, his accessible approach to art and engaging public persona has elevated Perry to the status of household name, and more recently, earned him a knighthood. 

Always keen to do the unexpected, pottery was Perry’s chosen method in which to indulge his fascination with sex, punk, and counterculture amongst other things, showcasing his interests in the most unlikely and polite of art forms. Today, he is one of Britain’s most celebrated artists and cultural figures. Grayson Perry: Smash Hits not only includes his most famous works, but also the first pieces he made as a student in Portsmouth. Works that would ignite a passion and pave the way for an illustrious career to be born. One such treasure on display is Perry’s earliest plate, made during his first week at evening class, Kinky Sex (1983).  

Much like Perry, the exhibition doesn’t play by the rules, renouncing traditional chronological displays in favour of presenting his work as a journey; one which will lead audiences through the many themes embedded within his provocative art, including masculinity, sexuality, class, religion, politics and identity. Expect subversive pots, intricate prints, elaborate sculptures, and huge, captivating tapestries – each imbued with Perry’s sharp wit and social commentary.  

Grayson Perry: Smash Hits brings together almost all of the artist’s meticulously detailed prints and imaginary maps along with many of his tapestries, such as the rarely shown Walthamstow Tapestry (2009) which, at a striking 15-metres in length, presents a birth-to-death journey through shopping and brand names. There’s also an opportunity to encounter the intricate cast-iron ship, Tomb of the Unknown Craftsman (2011) which was the centrepiece of Perry’s 2011 exhibition of the same name at the British Museum. The tomb is a memorial to all the anonymous craftsmen of history. Two rooms centre on the monumental tapestry series: Vanity of Small Differences (2012), which focus on class and are loosely based on William Hogarth’s A Rake’s Progress, as well as A House for Essex tapestries (2015), which explore the life of a fictional Essex woman Julie Cope.  

While the breadth of the exhibition offers a retrospective take on the artist’s career to date, it also looks to the future. A collection of new works, some completed within the last few months, will be displayed for the first time, including the richly detailed tapestry Sacred Tribal Artefact (2023), and a series of pots and plates, all of which explore themes of national identity. Perry’s latest pots, such as A Plague of Diaphobia (2022) and Ye Olde English Pot (2023), are presented in the form of medieval beer flagons. Decorated with traditional slipware techniques, they reference subjects ranging from the polarising effect of internet debate to heraldic iconography.  

Finally, fans of the recent Channel 4 docuseries Grayson Perry’s Full English will come face to face with notable objects featured on the popular series. Full English followed Perry as he travelled around the country to try and uncover what Englishness means today, inviting interviewees to select personal items which to them represented English identity. Piqued by the opportunity to show some of these items, alongside his new works which focus on Englishness in Scotland, Perry has included several objects in the exhibition. From a pub sign to a football flag, and a teacup to a letter from the Queen, they highlight not only the individuality and significance of cultural identity, but how artistic treasure can be found in many forms.  

Sir Grayson Perry said: “I feel honoured, excited and also daunted by the thought of seeing the largest ever exhibition of my work this summer in Edinburgh. Honoured to be given such an opportunity in such a fine gallery, excited to share my smash hits with the Scottish audience and the festival crowds. Daunted because whenever I walk amongst a substantial show of my art the same thought floods into my head, ‘oh my god the man hours!’ Just one of the grand rooms like those of the Royal Scottish Academy could easily hold two, three, four years of my studio life such is the density of my works. These objects contain so much for me, my hopes, my ideas, my lusts, my laughter, my pride, my love. What they contain more than anything is my time. Forty smashing years.” 

Sir John Leighton, Director-General of the National Galleries of Scotland, said: “This exhibition, the biggest Grayson Perry show ever held anywhere in the world, offers a unique opportunity for visitors to discover the scope of the artist’s practice. It has been forty years since Sir Grayson Perry first started making his pots and plates, and twenty years since he gained international acclaim when he won the Turner Prize; it is the ideal moment to celebrate Perry’s achievements to date.” 

Discover Grayson Perry: Smash Hits at the National (Royal Scottish Academy) from 22 July until 12 November 2023. Pre booking is advised.  

Your Art World

FREE National Galleries of Scotland: National

24 June 2023 – 14 April 2024 

Visitors to the National can now explore the spectacular Your Art World exhibition, showcasing the artwork of creative 3–18-year-olds from Scotland. The nationwide call out has inspired over 500 incredible young artists from across the country to get involved

The Your Art World project aims to engage with young people and encourage them to think and act more creatively. Having uploaded their creations digitally to National Galleries of Scotland’s website, the artwork is now proudly displayed on screens at the National. The young people could be as imaginative as they liked and use any type of materials for their creations, resulting in a superb collection of artworks. The exhibition is a celebration of what happens when young people are encouraged to be wildly imaginative with no limitations.

Four community and school groups, from the Scottish Highlands to the Borders, also worked alongside the National Galleries of Scotland to create physical installations. Groups involved included Dounby Community School and Nursery, secondary schools from across the Scottish Borders and Granton Primary. A group of children and their families from PAMIS, an organisation in Scotland working with people with profound and multiple learning disabilities for a better life, are also featured. The result is a creation of extraordinary displays ranging from environmentally inspired projects made with rubbish collected from the shores of Orkney to stunning paintings, drawings, and 3D sculptures, along with sensory led artwork by the PAMIS group.

Families and young people inspired by the creativity will also be able to get involved in making their own creations in the galleries this Summer. With a specially created ‘make and share’ area allowing them to produce and upload their own work to the website. There is also the added bonus of having their artwork added to the digital showcase on the screens.

Siobhan McConnachie, Head of Learning and Engagement, National Galleries of Scotland, said: “I feel so excited and proud to be showcasing the artwork of the talented young artists of Scotland. The response has been truly inspiring and we have been so impressed with everyone’s creativity. The Your Art World project is incredibly important to us at National Galleries of Scotland as it hands over the creative process to young people and celebrates their work. Art has its place in every school, home and young person's life, whether that be encouraging people to think creatively, use it as an expressive outlet or simply for some fun, this project and exhibition celebrates that art really is for everyone.”

Dounby Community School Head Teacher, Islean Gibson, said: “Being part of such an amazing gallery exhibition has given everyone here at Dounby School such a sense of pride and motivation. Sharing our thoughts and ideas as part of a national project has really inspired our whole school community. The power of creation will have a lasting legacy. It makes me swell with pride every day seeing just how impactful creativity can be for a wee school and its community. I would wholeheartedly recommend everyone take that step into Your Art World and see where it takes you!”

The exhibition is part of a wider Your Art World project which aims to engage and encourage young people in the world of art. With online resources available for teachers and families to support children in art-based activities, the project encourages everyone to get involved no matter ability or knowledge. By providing tools and guidance, Your Art World demystifies the creative process and makes art accessible to everyone.

The exhibition is made possible thanks to funds raised by players of People's Postcode Lottery, who have raised more than £5 million awarded by Postcode Culture Trust to support National Galleries of Scotland. All submissions can be viewed via the online gallery and will also be displayed digitally at the National until 14 April 2024.

The National Galleries of Scotland has announced the acquisition of Patrick Moir, (1769–1810), 1785‒6 by the celebrated Scottish artist, Sir Henry Raeburn. Marking the bicentenary of Raeburn’s death on 8 July 1823, this unique portrait is now on display and available to view for free at the National in Edinburgh.

This exciting new acquisition joins the most comprehensive and internationally important collection of Raeburn’s work, held by the National Galleries of Scotland on behalf of the nation. The national collection also includes Raeburn's much loved and incredibly popular ‘Skating Minister’ painting, Reverend Robert Walker (1755‒1808) Skating on Duddingston Loch, about 1795, also on display at the National.

Patrick Moir, 1769–1810, gives important insight into Raeburn's early development as an artist. The painting depicts a known individual but also owes much to a fashionable type of composition or ‘fancy picture’ – half-portrait and half-genre – which was internationally popular at the time.

This rare portrait was painted in Rome at a key moment in Raeburn’s life and career, and is the only known portrait dating from his one study visit to Italy (from 1784‒6).  It will join the National Galleries of Scotland’s significant holdings of art relating to Scots undertaking a ‘Grand Tour’ of Italy, including works by Allan Ramsay and William Aikman. In spite of the great expense involved, many artists aspired to travel to Italy in the 18th and 19th centuries, like the so-called 'Grand Tourists

During his visit to Rome, Raeburn’s most influential acquaintance was James Byres of Tonley (1734–1817), a well-known dealer in antiquities and 'Old Master' paintings. Byres was also a popular tour guide, especially for Scottish ‘Grand Tourists’. Patrick Moir, 1769–1810 is a portrait of Byres's young nephew, the son of Reverend George Moir (1741–1818) of Peterhead in North East Scotland. In time, Patrick managed his uncle’s business and became known as the ‘English Banker in Rome’ and a supplier of funds to Cardinal York, brother of Prince Charles Edward Stewart. The portrait is believed to have been commissioned by Byres and is the only known full-scale portrait associated with Raeburn’s visit to Italy. It remained in Rome with the rest of Byres's art collection during the turmoil of the city's invasion by French revolutionary troops. Its survival and eventual return to Byres in Aberdeenshire is one of the many fascinating stories attached to this unassuming portrait.

Sir Henry Raeburn (1756–1823) was the top Scottish portrait painter of the late 18th and early 19th century. In his lifetime he painted more than 1000 canvases, despite lacking any formal artistic training.  He was born in the village of Stockbridge, then on the outskirts of Edinburgh and was later apprenticed to a local goldsmith. This is when he began experimenting with portrait miniatures, eventually progressing to full-scale portraits.  From the late 1790s Raeburn established himself in a spacious custom-built studio at Number 16 (now 32) York Place on the eastern edge of Edinburgh’s Georgian New Town. In 1819 he was elected to the New York Academy of the Fine Arts. Three years later he was knighted during George IV’s State visit to Edinburgh, followed by appointment as portrait painter to the King in Scotland.

To celebrate the anniversary of Sir Henry Raeburn, and this new acquisition, the National Galleries of Scotland hosted a free public lecture on Tuesday 4 July. Available online or in person at the National, Senior Curator Helen Smailes explores the origins and wider cultural context of this rare pictures, together with Raeburn’s fascination with sculpture. 

National Galleries of Scotland Senior Curator, Helen Smailes, said: “This fascinating painting has been a cherished heirloom of the Moir-Byres family since 1785 and is a remarkable survivor of the French invasion of Italy in the 1790s. Raeburn’s only known portrait painted in Rome, its acquisition has transformed the Galleries’ internationally important holdings of his work. We are delighted to have been able to save Patrick Moir for the nation in Raeburn’s bicentenary year, with the unwavering commitment of the Moir-Byres family and generous support from The Art Fund.”

Jenny Waldman, Director, Art Fund, said: “This rare painting is the only known surviving full-scale portrait from Sir Henry Raeburn’s stay in Italy, a formative moment in the artist’s career. I’m thrilled that Art Fund has been able to support this important acquisition, where it will join the National Galleries of Scotland’s world-leading collection of Raeburn’s work for the public to enjoy for many years to come.”

The National Galleries of Scotland acquired the painting through the Private Treaty Sale scheme, which allows private owners to sell items considered to be culturally pre-eminent to national organisations without recourse to an auction process and with prices beneficial to both.  The acquisition was enabled by £54,000 support from Art Fund, together with funds from the Cowan Smith and Treaty of Union Bequests (National Galleries of Scotland).

Capturing and sharing emotional, dramatic, or everyday moments in life is the magic of the Taylor Wessing Photographic Portrait Prize 2022. A truly global affair, the prize celebrates the very best in contemporary photography, drawing on over 4000 entries from 62 countries. Featuring work by celebrated professionals and enthusiastic amateurs alike, the images selected for the exhibition each tell their own story.

Organised by the National Portrait Gallery (London) and now in its sixteenth year of Taylor Wessing sponsorship, the Taylor Wessing Photographic Portrait Prize makes a welcome return to the National Galleries of Scotland this June for the first time in seven years. With 51 portraits from 36 artists exhibited in the Portrait’s Robert Mapplethorpe Photography Gallery, this prestigious annual competition provides a vital platform for contemporary photographers; bringing the world as we know it, or perhaps don’t know it, to a multitude of audiences. The Portrait is the only touring venue for the prize this year, offering Edinburgh locals and international visitors alike the only opportunity to see these remarkable works on display outside London. This free exhibition, which has been generously supported thanks to funds raised by players of People’s Postcode Lottery, will also form a key part of the Edinburgh Art Festival; the UK’s largest festival dedicated to the visual arts.

This year’s prize-winning photographs examine a range of subjects – from queerness, transness and the concept of chosen family to socially distanced glimpses into daily lockdown life and identity and existence in former Soviet states. The variety of themes explored throughout the exhibition is matched by the high-quality, contemporary portraiture that reflects the shifting world of today. Strength in diversity, pride in identity, wonder in the everyday, this exhibition highlights a shared human connection through the broad scope of humanity itself. Visitors can expect a personal audience with well-known cultural figures, including renowned footballer and activist Marcus Rashford and popular star of Stranger Things Finn Wolfhard, along with discovering captivating moments in the more familiar of life’s pursuits. From the aspirational to the relatable, the finalists capture our rapidly changing world through their own individual lens.

The winner of the 2022 prize is Clémentine Schneidermann for the series Laundry Day. The socially distanced portraits of the series were taken during times of quarantine, self-isolation, and national lockdowns. In the words of the artist, they ‘document micro events which deal with the passage of time through the small moments of our daily lives’. Schneidermann’s portraits are close, but not too close, evoking the memory of socially distanced living, striving to seek pleasure in the mundane and monotonous and capturing small glimmers of light where possible; wholly relatable after enduring the collective experience of a global pandemic.

Interim Co-Director Collection & Research, National Galleries of Scotland, Anne Lyden said: “This is the first time since 2016 that the Portrait has hosted the Taylor Wessing Photographic Portrait Prize. It forms a central part of our summer exhibition programme, showcasing world class photography and documenting impactful moments and individuals. The prize provides a crucial platform to celebrate, question, and highlight cultural identity in many forms. I would like to extend my warmest congratulations to this year’s finalists, we are delighted to bring their work to the people of Scotland.”

Shane Gleghorn, Managing Partner at Taylor Wessing said: “Works and artists featured in the 2022 Taylor Wessing Photographic Portrait Prize were exceptional. We are delighted to see the prize returning to the National Galleries of Scotland, enabling this impressive collection of photographs to be viewed by the people of Scotland and its visitors. The prize has enabled artists across the world to use their talent and creativity to raise awareness in respect of a number of key issues and that makes for a powerful exhibition.”

Director of the National Portrait Gallery, London, Dr Nicholas Cullinan said: “The entries to 2022’s Taylor Wessing Photographic Portrait Prize demonstrate the outstanding level at which photographers around the world are approaching the art of portraiture. The selected submissions are a remarkable collection of images that reflect the competition’s international reach and demonstrate an extraordinary variety of themes and styles within the parameters of photographic portraiture.”

Laura Chow, Head of Charities at People’s Postcode Lottery, said: “We’re pleased to be supporting the National Galleries of Scotland as they celebrate the finest examples of contemporary photography. Players across Britain have raised over £1.1 billion for thousands of charities and local good causes, and are one of the biggest supporters of arts, culture, and heritage initiatives. We hope visitors make new discoveries and find this experience inspiring.”

The Taylor Wessing Photographic Portrait Prize 2022 will open to the public on Saturday 17 June until Sunday 10 September at the Portrait.

A painting by one of the most outstanding watercolourists of his day, Glasgow Boys artist, Joseph Crawhall (1861–1913), has been acquired by the National Galleries of Scotland.

Now on display at the National in Edinburgh, Cock Pheasant with Foliage and Berries is a superb addition to the national collection. The work is a perfect example of Crawhall’s distinctive and exquisite watercolours of animals and birds. Acquired through the Acceptance in Lieu scheme, it joins a collection of other works by Crawhall, including the incredibly popular, The White Drake.

This spectacular new addition to the collection is one of Crawhall’s most poised works, demonstrating his skill in studying birds. Cock Pheasant with Foliage and Berries depicts a pheasant sitting elegantly among berries, proudly puffing out its chest. Crawhall expertly captures the essence and character of the bird by embracing the quirks of his chosen material. This includes using the colour, weave and surface finish of the linen to influence the overall effect of the painting. Using bodycolour – watercolour mixed with white pigment to make it opaque – he beautifully plays with light, adding sheen to the berries and the pheasant’s head.

The galleries are currently home to around forty works by Crawhall, including sketches and illustrated letters he exchanged with the other Glasgow Boys. However, Cock Pheasant with Foliage, a work dating from 1906, truly illustrates the artist’s passion for wildlife. Sometimes studying animals for hours at a time, Crawhall would then return to the studio to produce incredibly accurate works from memory. His stunning artwork was even praised by experts in animals and birds, who testified to the accuracy of his paintings.

An artist hugely admired by fellow artists and Scottish collectors, Crawhall developed his own technique for painting such vivid and beautiful images. It was his interest in Japanese prints and Chinese wash drawings on silk which inspired watercolours like this one, which is painted on linen. The elongated format of Cock Pheasant with Foliage and Berries and the branches which frame the image, are likely inspired by the compositional techniques of Japanese prints. His use of brush lines to define the bird’s feathers may also have been influenced by the black outlines typically seen in Japanese woodblock prints.

Crawhall was known as a key figure in the Glasgow Boys, a group who rebelled against stuffy Edinburgh-based art establishment, instead painting subjects drawn from everyday life. But unlike the other Glasgow Boys, apart from Arthur Melville, he specialised in watercolours and was the only member of the group to focus on painting animals.

The National Galleries of Scotland is grateful to Sotheby’s Tax & Heritage Department for the role it played in steering this painting to the collection.

Culture Minister Christina McKelvie said: “Joseph Crawhall’s watercolour painting, Cock Pheasant with Foliage and Berries, is a welcome addition to the National Galleries of Scotland’s collection through the Arts Council England’s Acceptance in Lieu Scheme. As a prominent member of the Glasgow Boys, Crawhall’s brilliant work is already well-represented in the galleries and this latest outstanding addition will further enrich our understanding of this wonderful Scottish artist and Scottish Art of the period.”

Helen Birchenough, Chair, Acceptance in Lieu Panel, said: “I am delighted that ‘Cock Pheasant with Foliage and Berries’ by Joseph Crawhall has been acquired by the National Galleries of Scotland through the Acceptance in Lieu Scheme. This painting is a fine example of Crawhall’s work. It is in brilliant condition and will help to enhance the National Galleries of Scotland’s representation of Crawhall. I hope that this example will encourage others to use the scheme and continue to support our national collections.”

Charlotte Topsfield, Senior Curator of British Drawings and Prints at National Galleries of Scotland, said: “We are elated to have acquired ‘Cock Pheasant with Foliage and Berries’ by Joseph Crawhall for the national collection, through the generosity of the Acceptance in Lieu scheme. Crawhall’s work was hugely popular with Scottish collectors, notably Sir William Burrell (1861–1958).  Both ‘The White Drake’ and ‘Cock Pheasant with Foliage and Berries’ were originally part of the outstanding collection of the Paisley thread manufacturer, William Allan Coats (1853–1926). Re-united at the National, these two outstanding watercolours demonstrate the evolution of Crawhall’s technique and his uncanny ability to capture the beauty of animals and birds.”

National Galleries of Scotland is delighted to have acquired a fascinating portrait of renowned human rights activist and scientist, Professor Sir Geoff Palmer, created by Scottish artist, Graham Fagen. The contemporary video portrait is available to view for free at the Portrait in Edinburgh. Filmed in the building’s impressive Great Hall, the portrait is now on display in the ambulatory. In the compelling 19-minute video, Graham Fagen truly captures Sir Geoff’s story and spirit.   

Artist Fagen was inspired by Sir Geoff, after seeing and hearing him speak at public events. Sir Geoff’s warmth and compassion, while expressing his life experiences and views on contemporary Scotland and its historic relationship with the transatlantic slave trade, motivated Fagen to create a contemporary portrait that captured the sitter's essence and personality.  

In this single channel video portrait, Fagen captures Sir Geoff talking about his life, from growing up in Jamaica, to becoming an esteemed academic in Edinburgh. We are shown close ups of a bracelet adorned with the Jamaican flag, which Sir Geoff wears proudly on his wrist showing his connection to his homeland.   

Fagen’s portrait breaks the boundaries of what we think of as traditional portraiture. He wanted to show how Sir Geoff can command our attention with his humility and consideration as he engages us in a brutal history with harsh truths. Sir Geoff’s research experience as a life scientist enables him to evidence, in a matter-of-fact way, the truths of the history that connects Jamaica, the country of his birth, with Scotland, the country of his home, via the experience of the Windrush generation. By working in collaboration with Sir Geoff, Fagen has made a work that expands our perceptions and offers new thought and knowledge on the complexities of portraiture.  

From seeing and hearing Sir Geoff speak, Fagen wanted to capture his personality in the portrait - his voice; his autobiography, his thoughts, his hopes – as well as a likeness: his head, eyes, nose, ears and mouth. To bring the soundtrack to life Fagen worked with reggae musician Ghetto Priest, with whom he had previously collaborated with on The Slave’s Lament.   

Sir Geoff Palmer OBE is a life-long human rights activist and historian of Scotland’s relations with the Caribbean. His story is a remarkable one. After leaving Jamaica for London in 1955 aged 14, he attended school in the city, eventually continuing his studies at Leicester, Edinburgh and Heriot-Watt universities. As a scientist, his research at the Brewing Research Foundation from 1968–77 led to the discovery of the barley abrasion process – which makes the malting process more efficient. For this research, he was awarded the American Society of Brewing Chemists Award of Distinction in 1998. In 1989, Sir Geoff became the first Black university professor in Scotland. He is the author of a critically acclaimed book, The Enlightenment Abolished: Citizens of Britishness, in which he argues for maintaining but reinterpreting public monuments associated with the transatlantic slave trade.   

Graham Fagen is one of the UK’s foremost contemporary artists. In video, performance, photography, sculpture and text, he creates works which explore how national and personal identity is created by, and is a response to, one’s cultural contexts.  Although his works draw on varied references and embrace all manner of materials and media, they all, in some way, touch on the role of society, history and cultural turning points in the lives of both individuals and communities. Whether made for a gallery or in the public realm, Fagen's works are frequently developed over time, involving the collaboration and participation of others. Fagen's points of departure include the history and effect of the transatlantic slave trade, the cultural influences of music, nature and the symbolic power of flowers, urban planning and regeneration. Born in Glasgow, Fagen studied Sculpture at Glasgow School of Art from 1984-88, followed by Art and Architecture at Kent Institute of Art & Design from 1989-90. Alongside his own work, he is a Professor of Fine Art at Duncan of Jordanstone College of Art & Design.   

Exhibiting this portrait will enable a public sharing of the history, legacy and humanity of Sir Geoff’s human rights work. It will stand as a valuable marker and evidence of the contemporary relevance of the shared history between Scotland and the Caribbean.   

Graham Fagen said: “I was extremely honoured to work with Sir Geoff in order to make an artwork that shares his life and work. Geoff’s life is one that has profoundly influenced and shaped the world we live in today.”  

Professor Sir Geoff Palmer said: “We cannot change the past but we can change consequences, such as racism, for the better using education. I hope my portrait can help bring awareness to these matters.”  

Sir John Leighton, Director-General of National Galleries of Scotland said: “We are proud to display Graham’s wonderfully moving portrait of Sir Geoff Palmer. This work recognises Sir Geoff’s many achievements and is an important acquisition that we are delighted to welcome into Scotland’s national collection.”  

Opening 29 April 2023   

Free   

National Galleries Scotland: Modern Two 

Decades: The Art of Change 1900-1980, is an exploration of the modern art scene, from 1900 through to the 1970s.  See how artists have captured changes in society as you move through the free exhibition, opening at Modern Two this Saturday (29 April). You will discover how the mood and atmosphere of the work reflects and embodies each changing decade with works that have been carefully selected to best represent the period.  

Filling all of Modern Two and spread across six rooms, the journey begins at the turn of the last century, in 1900. Meet the French artists who painted with electrifying colour in the first room, with work by Henri Matisse and André Derain. Their brightly coloured landscape paintings were so radically different that the artists were given the derogatory label ‘Fauves’ – meaning ‘wild beasts’. The term stuck and Fauvism had a major impact on British and particularly Scottish art. 

Two new acquisitions, by Scottish Colourists FCB Cadell and JD Fergusson, feature in this room. JD Fergusson, who was born in Leith but lived in Paris before the First World War, was one of the key Scottish artists of the twentieth century. Painted in 1911, Flowers and Pink Box, has bright bold colour and confident, energetic brushwork. Fergusson's work of this time often had sexual overtones and covert erotic references. In this painting, the pink box depicted is believed to have been used to store his condoms. This is the first still life by Fergusson to enter the national collection. The Rose and the Lacquer Screen, by FCB Cadell, combines several of his favourite still-life props: a rose in a transparent vase, a black fan and its trailing ribbon and a detail of the lacquered screen that dominated the drawing room of his house in Edinburgh’s New Town.   

Moving into the 1930s, artists such as Piet Mondrian believed that abstract art could change society. This room features work by Alexander Calder, Paule Vézelay and Ben Nicholson. Entering the 1940s, abstraction and idealism were replaced by grim realism. Paintings and sculptures by Francis Bacon, Joan Eardley and Bet Low, created during and immediately after the Second World War, speak of a new reality, reflecting the harsh times. Benno Schotz’s sculpture Lament (1943) speaks of the Holocaust while William McCance’s Atom Horizon refers to the bombing of Hiroshima. 

The 1950s saw a battle between Abstraction and Realism, played out in the shadow of the Cold War and the nuclear age.  This is illustrated in Decades: The Art of Change 1900-1980 by two mural projects created for the great Festival of Britain exhibition of 1951, which are shown together here for the first time. Josef Hermann’s project shows a row of miners - builders of a new social order; Victor Pasmore’s mural project is instead a daring essay glimpse of spiralling abstract forms. The art of the 1950s reaches into the future yet seems steeped in anxiety. The display from the 1950s also features exceptional works by Alan Davie, Louise Nevelson, Fernand Léger, Eduardo Paolozzi and Elisabeth Frink.  

Art became celebratory, playful and experimental in the 1960s. Sculptors abandoned traditional materials such as bronze and marble for ‘soft sculpture’, exemplified in the work of Jann Haworth, Yayoi Kusama and Duane Hanson’s iconic Tourists. A firm favourite with visitors to the Modern, Tourists captures the banality of post-war, consumer society with humour and warmth. Although these two figures are presented as a couple, they were cast from life but never even met. David Hockney’s etching of two gay men in bed dates from 1967, the year in which homosexuality was legalised in England and Wales. 

Throughout the 1970s, artists took Abstraction and Minimalism to extremes. Fred Sandback’s Untitled, 1971 - two coloured cords which cut across the corner of the room - questions the very notion of art as something with three-dimensional form or narrative meaning. 

The Keiller Library presents a witty and original focus on the motif of the hand in Surrealist art and writing. Drawing on works by artists like Man Ray, Edith Rimmington and Salvador Dali, from the national collection’s world- class holding of Surrealist books and archive material. 

From a time when the motor car was just beginning to populate the roads to the dawn of the space race, the world changed significantly in the 80-year timespan that the exhibition covers.  This selection of one hundred works from the national collection shows ways in which artists have continually pushed the boundaries and created art which defines its time. These pieces still have the power to shock and make us think about our world today and the changes and innovations to come. 

Director-General of the National Galleries of Scotland, Sir John Leighton, said: ‘National Galleries of Scotland is delighted to reopen Modern Two with an exhibition that celebrates the strength of the national collection. Featuring a fascinating range of works by many of Scotland and the world’s greatest artists, Decades: The Art of Change 1900-1980 encourages visitors to think about how art can both reflect and change the way we see the world around us. We welcome you to join us on a voyage of discovery through 80 years of bold artistic achievement.’ 

Simon Groom, Director of Modern & Contemporary Art, said: “Decades is an amazing opportunity to discover the rich range and depth of art from the national collection in the 20th century. Arranged by decades - starting with the beautiful paintings of Henri Matisse, Pablo Picasso, and the Scottish Colourists, the show takes us on fascinating journey to see how artists as diverse as Francis Bacon, Joan Eardley, Eduardo Paolozzi, Yayoi Kusama, Bridget Riley, David Hockney, and Joseph Beuys reflected and gave shape to our experience of the 20th century.”  

Today [5 April 2023] the National Galleries of Scotland has announced that Sir John Leighton will step down as Director-General.

Sir John joined the National Galleries of Scotland as Director-General in 2006 and has led the organisation through a period of significant change, combining an ambition for artistic excellence with a drive to open up the collection to the broadest possible public. Since 2006, attendance at the organisation’s three galleries in Edinburgh has risen by over a million visitors, reaching an average of 2.5 million visits annually in the years before the pandemic.

Working with the Board of Trustees, Leadership Team, colleagues across the organisation and a great many donors and stakeholders, Sir John has helped the National Galleries of Scotland to realise its mission - to make art work for everyone - across three galleries in Edinburgh, on tour and online. Since 2006, the collection has been enhanced with many outstanding additions across the entire span of the collection, from Old Masters through to modern and contemporary art and photography.

There has been a hugely successful programme of exhibition activity, showcasing art from Scotland and around the world. The superb collections of the National Galleries of Scotland have been shared across the country and abroad. This includes the Artist Rooms programme, launched in 2009 as a partnership with Tate and still one of the most successful partnerships of its kind in the UK.

Sir John led the fund-raising campaign for the joint acquisition of two masterpieces by Titian,  Diana and Actaeon and Diana and Callisto, with the National Gallery in London, thereby securing the continuation of the superlative Bridgewater loan of masterpieces to the National Galleries of Scotland. In 2017, the acquisition of Landseer’s iconic painting The Monarch of the Glen was another notable public fundraising campaign.

During Sir John’s tenure, the National Galleries of Scotland has pursued an ambitious programme of investment in its buildings and infrastructure. Major projects have included the redevelopment of the Portrait gallery, completed in 2011. Later this year, the organisation will open amazing new spaces at the National for the world’s most important collection of historic Scottish art. This will realise a long-standing ambition to transform the experience of a key part of this country’s national heritage. Another major project, The Art Works, is currently under development in Granton, North Edinburgh. This will create a new home for looking after and sharing the national collection of art, combining environmental and social sustainability.

Sir John Leighton, Director-General of the National Galleries of Scotland, said: ‘It has been an extraordinary privilege to work with the amazing colleagues, trustees, patrons, Friends and all the supporters of the Galleries and I am immensely proud of our collective achievements across so many activities and projects. With the completion of the Celebrating Scotland’s Art project at the National later this year and with the Galleries firmly back on track after the disruption of the global pandemic, this seems the right time for me to hand over to new leadership. In these difficult times, and as society continues to recover from the impact of the pandemic, I know that the National Galleries of Scotland will continue to play a key role in society in Scotland, offering inspiration and joy to a very wide public.’

Benny Higgins, Chair of the National Galleries of Scotland Board of Trustees, said: ‘Sir John Leighton has served the National Galleries of Scotland with distinction and unswerving commitment. His strong, thoughtful leadership has enabled the Galleries to progress in the best and most challenging of times. He will leave an enduring legacy. On a personal front, it has been a pleasure to work with someone who exhibits humility and strong values at all times. When the time comes, he will move on with the most deserving best wishes.’

The process of recruiting of a new Director-General will begin immediately and will be led by the Chair and a committee of Trustees.                            

National Galleries of Scotland has submitted ambitious plans to construct a new collection storage, conservation, community space and research facility for the national collection of art in Granton, North Edinburgh. The Art Works will allow everyone to explore, discover, and engage with Scotland’s national art collection. The historic collection of the Royal Scottish Academy will also be housed in the new building along with the home of the Demarco Archive. 

The Art Works will offer an additional 11,000m² of quality space – the equivalent of two playing fields – to make the collection more accessible to the public than ever before.  Alongside a vastly improved digital offering, the purpose-built facility will deliver a modern environment in which members of the public, colleagues, students and researchers can engage with the works stored there. 

Much more than a world-class building to care for Scotland’s national art collection, The Art Works will be created with the needs of the local community at its heart. Inside there will be spaces for public use, including social areas and amenities for visitors’ comfort and enjoyment, including a community studio, community support space, further education rooms and a Changing Places toilet, as well as collection viewing rooms and study spaces. Outside there will be opportunities for activity areas and bringing the environment to life, including new green routes through to the Waterfront. Several projects with local partners are underway, with completed projects including a collaboration with local charities and social enterprises to make 1000 art-themed face coverings for local people and visits for nursery groups to enjoy the community orchard which is currently on part of the site. 

Located in one of Scotland’s most diverse yet socioeconomically deprived areas, the facility sits at the centre of the Granton Waterfront regeneration area and will make a significant contribution to the regeneration process. It will seek to be inclusive, connecting to other facilities and partners in the area both physically and visually. 

Sustainability is central to the National Gallery of Scotland’s vision for The Art Works. The plans include sustainable building practices which minimise energy impact and provide quality of life opportunities for the local community. As the country’s largest building designed to the Passivhaus standard, it will go beyond what is required by the Scottish Building Standards. 

Previously known as the National Collection Facility, proposals for a building of this kind have been in the early stages of concept development since 2015. Now known as The Art Works, the project aims to bring Scotland’s vast and extraordinary national art collection into a single, future-proofed location. Prior to and following submission of the Proposal of Application Notice in May 2022, the National Galleries of Scotland, and their consultant design team, worked closely with the local community, key stakeholders and the planning authority to prepare the planning submission. 

The collection is currently stored across several sites where access and space are extremely limited, logistics are difficult, and conditions are suboptimal for enabling the full potential for public access, conservation and research to be realised. It also means it can be challenging for works to be made available for display and loan. The Art Works will be instrumental in addressing these issues, enabling much greater access to and engagement with Scotland’s incredible collection of art treasures and safeguarding the future of this publicly owned, renowned national collection. 

Sir John Leighton, Director-General of the National Galleries of Scotland, said: ‘National Galleries of Scotland is happy to now be able to submit a full planning application following extensive consultation with the communities of North Edinburgh. This is an incredibly exciting moment in the realisation of The Art Works project. This entirely new facility will provide state-of-the- art spaces for the management and distribution of Scotland’s art, deliver world-class services for staff, researchers and visitors and provide a significant, long-term contribution to benefit and enhance the local community for years to come.’ 

Today [28 March 2023] the National Galleries of Scotland has announced the acquisition of two major works by the celebrated Barbadian-Scottish artist, Alberta Whittle. The artist’s extraordinary installation with tapestry, Entanglement is more than blood (2022), and thought-provoking film, Lagareh – The Last Born (2022), will form an integral part of Alberta Whittle: create dangerously. The free exhibition opens to the public this Saturday [1 April 2023] at the Scottish National Gallery of Modern Art (Modern One) in Edinburgh. 

The two works were at the heart of the artist’s critically acclaimed exhibition at the 59th Venice Biennale, 2022, where she represented Scotland. Their entry into the national collection forms a significant legacy of this landmark project. Indicative of Alberta’s art practice, Entanglement is more than blood and Lagareh – The Last Born promote compassion and collective care as a means of resisting racism and anti-Blackness. The sculpture and film installation confront the violence of colonialism, the legacies of transatlantic chattel slavery, and the impact of the climate crisis. 

Co-commissioned and created in collaboration with Dovecot Studios, Edinburgh, Entanglement is more than blood is a large-scale tapestry on a gate-like structure. It is imbued with the artist’s rich symbolism, including water, snakes, diamonds, hands, and shells. Acting as a portal, the tapestry explores the meaning of family, kinship and ancestral histories, themes that will echo throughout the exhibition.  

The imagery in the tapestry is also seen in Lagareh – The Last Born, which was co-commissioned and produced by Forma Arts, London. Centring the collective strength of contemporary Black womxn, this 43-minute film is anchored in ideas of abolition, rebellion, grief, and love. Shot on location in Scotland, London, and Barbados, and featuring footage from Sierra Leone and Venice, Alberta has woven together contrasting stories of individual acts of resistance against racist violence with gentle moments of intimacy. Lagareh – The Last Born will play continuously throughout the day, and for visitors who wish to see it from the beginning, screening start times will be made available in the gallery and on the National Galleries of Scotland website. 

Alberta Whittle said: ‘As a kid on school trips, we often went to museums and I was mesmerised, but I also found myself searching for images and artworks that reflected my family, my history and my experiences. These acquisitions by National Galleries of Scotland have made me feel optimistic about how conversations are changing and how my work may bring in new young artists who are searching for something that inspires them to think differently.’  

Lucy Askew, Chief Curator of Modern and Contemporary Art at the National Galleries of Scotland, said: ‘We are hugely excited to be able to expand the nation’s holdings of Alberta’s powerful and important work. Entanglement is more than blood and Lagareh – The Last Born are each deeply rooted in Scotland’s past and present times, speaking strongly of the community and care needed to resist racism. We are delighted that these vital works, layered with Alberta’s evocative symbolism, have found their home in the national collection, and that they now belong to all of us.’ 

Reflecting its aspiration, creativity and diverse audiences, the National Galleries of Scotland is rolling out a striking new visual identity and fresh tone of voice from today (29 March 2023).  Together, the new brand aims to increase the number of people who discover Scotland’s world-class art collection and the organisation’s three galleries in Edinburgh: National, Modern and Portrait. To help fulfil its ambition, the National Galleries of Scotland partnered with DNCO creative agency on the new visual identity, tone of voice and wayfinding strategy and design.  

The new brand will be unveiled on the National Galleries of Scotland’s website (www.nationalgalleries.org) and other digital channels. Over the coming year, visitors will also see it starting to feature across the organisation’s activities, from wayfinding signage to own-brand merchandise and the uniform worn by the visitor-facing team at each gallery.  

The new visual identity will support an exciting year of activities and bring to life the National Galleries of Scotland’s vision for audience experience. Stunning new galleries at the National will open later this year to showcase the world’s greatest collection of Scottish art. There will also be the largest ever exhibitions by Grayson Perry and Alberta Whittle. 

The National Galleries of Scotland exists to ‘make art work for everyone’ and so audiences have been at the heart of the brand development. The organisation consulted a wide group of people, from high-school pupils and those who have never visited to colleagues, regulars and tourists, to get their views on visuals and ideas.   

The research established some key insights.  

• The need for greater awareness about what the National Galleries of Scotland does and that the national art collection belongs to the people of Scotland.  

• People visiting galleries have a wide array of experiences and emotions – from relaxing moments in front of the art to socialising in the cafés. 

This led to a visual identity centred around the idea of discovery, different perspectives, ownership and a new ‘Yours to Discover’ strapline. The brand palette uses a range of bold vibrant colours, a move seen as transformative in how people view the National Galleries of Scotland. The individual gallery names have been shortened to National, Modern and Portrait to emphasise their distinctive identities and to better demonstrate the National Galleries of Scotland as a coherent family of galleries. The font, Caslon Doric (NGS), is a historic typeface which has been adapted to make it even more accessible. 

Here is a snapshot of audience quotes:  

• ‘It makes me feel that there’s something exciting going on inside.’  

• ‘The bright colours better attract an audience that may not necessarily gravitate towards an art gallery.’ 

• ‘The addition of colour does make it more youthful.’ 

• ‘It is inclusive for all ages and levels of knowledge.’ 

Sir John Leighton, Director-General of National Galleries of Scotland, said: "We know that art can be powerful, and we want as many people as possible to experience everything we offer. The visual identity is one part of a huge organisational effort to widen our impact and reach out to existing and new audiences."

Leanne Mabberley, Head of Marketing and Communications, National Galleries of Scotland, said: "The vast majority of our visitors say that the experience gave them a sense of wellbeing. But we also know that many people may not necessarily think about visiting a gallery, and our hope is that this new visual identity will make people stop, think and consider trying us out and sharing in the wonderful works in our collection.  Audience input has been so integral to this new brand and people have said that it demonstrates that we are youthful, exciting and inclusive. We’ve got a great year of activities and art ahead, so we very much agree." 

The following companies have been involved with the brand project: 

• Research: Jane Wentworth Associates, Basis and DJS 

• Brand strategy, design and tone of voice: DNCO 

• Wayfinding strategy and design: DNCO 

• Website: Leith agency 

• Own brand merchandise design: O Street 

• Uniform provider: Burlington Uniforms 

• Wayfinding manufacture and installation: Norsign 

• Artworking: Room for Design  

National Galleries of Scotland has today [16 March] announced the appointment of Isabella Miller as Director of Audience. Bringing a wealth of experience, Miller joins National Galleries of Scotland following a 32-year career at the John Lewis Partnership where she held leadership roles across multiple branches and head office.

Miller has a long-standing relationship and understanding of National Galleries of Scotland having served on the board of the Trading Company of since its inception over 10 years ago. The appointment comes at an exciting time, with the reopening of the Scottish National Gallery of Modern Art (Modern Two) on 29 April, and the launch of a host of new exhibitions including Alberta Whittle: create dangerously and Grayson Perry: Smash Hits.

With an MA in Human Geography from the University of Aberdeen, Miller joined the John Lewis Partnership in 1989. She took up her first senior leadership position in the Liverpool store before moving to Peterborough and then Newcastle. Most recently, she was the head of the Glasgow branch of John Lewis, leading a team of 350 to deliver customer experience excellence. She was also President of the John Lewis Council, leading representatives of 24,000 partners who held the board to account.

An inspirational leader, Miller has served in key positions on numerous boards, including five years with the Glasgow Chamber of Commerce. In 2020, she was appointed to the position of co-chair of Scotland for Employee Ownership, which promotes employee ownership as part of the Scottish Government’s fair work agenda. Miller holds this role in partnership with the Minister for Public Finance, Planning and Community Wealth, Tom Arthur MSP.

At National Galleries of Scotland, Miller will be responsible for the Trading Company (retail, cafes and publishing) Marketing and Communications, Audience Insight and Visitor Experience, and Digital Content. She will be the driving force behind public engagement both in person and online, ensuring that the nation’s collection continues to be shared as widely as possible.

Sir John Leighton, Director-General of the National Galleries of Scotland, said: ‘We are thrilled that Isabella Miller has joined us as Director of Audience. She has unparalleled experience and an excellent understanding of National Galleries of Scotland, having served on the board of the Trading Company for over 10 years. We are now pleased to welcome her to our leadership team.’

Isabella Miller, Director of Audience at the National Galleries of Scotland, said: ‘I am over the moon to take up a new role at National Galleries of Scotland. It is an honour and a privilege to be part of such a wonderful organisation, and to help deliver our mission to make art work for everyone. I look forward to sharing all the amazing things that we do, reaching out to as large an audience as possible and continuing to encourage inclusivity for all.’

Decades: The Art of Change 1900-1980 

29 April 2023   

Free   

Scottish National Gallery of Modern Art (Modern Two)  

Free-use images are available in this Dropbox link  

The Scottish National Gallery of Modern Art (Modern Two) in Edinburgh will reopen on 29 April 2023 with a spectacular new exhibition, Decades: The Art of Change 1900-1980. This fascinating, free exhibition will take a journey through 80 years of art, from 1900 to the 1970s. Spanning a period of dramatic change, moving from the birth of the motorcar to the dawn of the space race, each work on display will be drawn from the Gallery’s world-class collection of modern art.  

Decades: The Art of Change 1900-1980 will take visitors through a series of six chapters across six rooms at Modern Two. Each chapter speaks of a particular moment from across the twentieth century, when artists rebelled against the previous generation, creating works which came to characterise a period.  

Beginning with French artists who painted with electrifying colour, the first room includes work by Henri Matisse and André Derain. Their brightly coloured landscape paintings were so radically different that the artists were given the derogatory label ‘Fauves’ – meaning ‘wild beasts’. The term stuck and Fauvism had a major impact on British and particularly Scottish art. 

Two fabulous new acquisitions, by Scottish Colourists FCB Cadell and JD Fergusson, feature in this room. Leith-born JD Fergusson, who lived in Paris before the First World War, was one of the key Scottish artists of the twentieth century. Painted in 1911, Flowers and Pink Box, is vigorous and confident in its brushwork, bright and clashing in colour. The Rose and the Lacquer Screen, by FCB Cadell, combines several of his favourite still-life props: a rose in a transparent vase, a black fan and its trailing ribbon and a detail of the lacquered screen that dominated the drawing room of his house in Edinburgh’s New Town. These new acquisitions have been generously donated by private owners. 

Moving into the 1930s, artists such as Piet Mondrian believed that art could change society. This room will feature work by Alexander Calder, Paule Vézelay and Ben Nicholson.  

Entering the 1940s, abstraction and idealism were replaced by grim realism. Featuring work by Francis Bacon, Joan Eardley and Bet Low, these paintings and sculptures, created both during and immediately after the Second World War, speak of a new reality.  

The 1950s saw a battle between Abstraction and Realism. This is illustrated in Decades: The Art of Change 1900-1980 by two mural projects created for the great Festival of Britain exhibition of 1951, which will be shown together here for the first time. Josef Hermann’s project shows a row of miners - builders of a new socialist order; Victor Pasmore’s mural project is instead a daring essay glimpse of spiralling abstract forms. Exceptional creations by Alan Davie, Louise Nevelson, Fernand Léger, Eduardo Paolozzi and Elisabeth Frink will also be on display, making up the 1950s presentation. 

Art became celebratory, playful and experimental in the 1960s. Sculptors abandoned traditional materials such as bronze and marble for ‘soft sculpture’, exemplified in the work of Jann Haworth, Yayoi Kusama and Duane Hanson’s iconic Tourists.  

Throughout the 1970s, artists took Abstraction and Minimalism to extremes. Fred Sandback’s Untitled, 1971 - two coloured cords which cut across the corner of the room - questions the very notion of art as something with three-dimensional form or narrative meaning.  

The Keiller Library will focus on the motif of the hand in Surrealist art and writing. Drawing on works by artists like Man Ray, Edith Rimmington and Salvador Dali, from the national collection’s world-class holding of Surrealist books and archive material. 

Radical, questioning and experimental, this selection of one hundred works from the national collection shows ways in which artists have continually pushed the boundaries and created art which defines its time. These pieces still have the power to shock and make us think about our world today.  

Director-General of the National Galleries of Scotland, Sir John Leighton, said: ‘National Galleries of Scotland is delighted to reopen Modern Two with an exhibition that celebrates the strength of the national collection. Featuring a fascinating range of works by many of Scotland and the world’s greatest artists, Decades: The Art of Change 1900-1980 encourages visitors to think about how art can both reflect and change the way we see the world around us. We welcome you to join us on a voyage of discovery through 80 years of bold artistic achievement.’  

-  ENDS  - 

Notes to editors:   

For interview and image requests, please email [email protected]   

About the Scottish National Gallery of Modern Art (Modern Two)  

• Modern Two is open daily, 10am-5pm, from 29 April  

• Entry is free.  

• The café is open daily, 10am-5pm.  

• The car park is open.     

• A Changing Places facility is available.     

• The grounds and sculpture trail are open and free to visit.

Grayson Perry: Smash Hits  

Royal Scottish Academy (presented by National Galleries of Scotland)  

22 July – 12 November 2023  

Grayson Perry | National Galleries of Scotland

This summer, the biggest ever exhibition of Sir Grayson Perry’s work will take place at the National Galleries of Scotland. Covering his 40-year career, Grayson Perry: Smash Hits will take over the Upper Galleries of the Royal Scottish Academy in Edinburgh from 22 July until 12 November. This will be the only opportunity to see this exhibition, which offers an exclusive look at the celebrated artist’s lifetime of creation. 

Perry has gone from taking evening classes in pottery to winning the Turner Prize, presenting television programmes on Channel 4 and writing acclaimed books. Always keen to do the unexpected, pottery allowed him the opportunity to indulge his fascination with sex, punk, and counterculture amongst other things, in the most unlikely and polite of art forms. Today, he is one of Britain’s most celebrated artists and cultural figures. Grayson Perry: Smash Hits not only includes his most famous works, but also the first pieces he made as a student in Portsmouth. One such treasure is Perry’s earliest plate, made during his first week at evening class, Kinky Sex (1983).  

This comprehensive exhibition, which encompasses more than eighty works, has been developed in close collaboration with the artist and Victoria Miro gallery. Instead of being presented chronologically, the show offers a journey through the main themes of Perry’s provocative art, including masculinity, sexuality, class, religion, politics and identity. Grayson Perry: Smash Hits will display subversive pots, intricate prints, elaborate sculptures, and huge, captivating tapestries – all imbued with Perry’s sharp wit and social commentary. 

Grayson Perry: Smash Hits will bring together all the artist’s meticulously detailed prints and imaginary maps. The exhibition will feature many of his tapestries, such as the rarely shown Walthamstow Tapestry (2009) which, at 15-metres in length, presents a birth-to-death journey through shopping and brand names. Visitors will also encounter the intricate cast-iron ship, Tomb of the Unknown Craftsman (2011) which was the centrepiece of Perry’s 2011 exhibition of the same name at the British Museum. The tomb is a memorial to all the anonymous craftsmen of history.

Two rooms centre on the monumental tapestry series: Vanity of Small Differences (2012), which focus on class and are loosely based on William Hogarth’s A Rake’s Progress, as well as House for Essex tapestries (2015), which explore the life of a fictional Essex woman Julie Cope. 

The final room will exhibit new works made in the past few months especially for the exhibition. These include a richly detailed tapestry, a large woodcut print, and pots and plates which explore themes of national identity. Perry’s latest pots, in the form of medieval beer flagons, are decorated with traditional slipware techniques and reference subjects ranging from the polarising effect of internet debate to heraldic iconography. This room will also include objects chosen from his recent Channel 4 docuseries Grayson Perry’s Full English. Perry travelled around the country to try and uncover what Englishness means today. He invited interviewees to select personal items which to them represented Englishness. Piqued by the opportunity to show some of these items, alongside his new works on Englishness in Scotland, Perry has included various objects from a pub sign to a football flag, and a teacup to a letter from the Queen. 

Grayson Perry said: ‘I feel honoured, excited and also daunted by the thought of seeing the largest ever exhibition of my work this summer in Edinburgh. Honoured to be given such an opportunity in such a fine gallery, excited to share my smash hits with the Scottish audience and the festival crowds. Daunted because whenever I walk amongst a substantial show of my art the same thought floods into my head, ‘oh my god the man hours!’ Just one of the grand rooms like those of the Royal Scottish Academy could easily hold two, three, four years of my studio life such is the density of my works. These objects contain so much for me, my hopes, my ideas, my lusts, my laughter, my pride, my love. What they contain more than anything is my time. Forty smashing years.’ 

John Leighton, Director-General of the National Galleries of Scotland, said: ‘This exhibition, the biggest Grayson Perry show ever held anywhere in the world, offers a unique opportunity for visitors to discover the scope of the artist’s practice. It has been forty years since Perry first started making his pots and plates, and twenty years since he gained international acclaim when he won the Turner Prize; it is the ideal moment to celebrate Perry’s achievements to date.’  

- ENDS -

Notes to Editors 

This exhibition is organised with the support of Victoria Miro and Paragon Press.  

Alberta Whittle: create dangerously  

1 April 2023 – 7 January 2024 

Free  

The Scottish National Gallery of Modern Art (Modern One) 

Alberta Whittle | create dangerously | National Galleries of Scotland

New multi-media works by the celebrated Barbadian-Scottish artist, Alberta Whittle, will be revealed this spring in a free exhibition at the Scottish National Gallery of Modern Art (Modern One) in Edinburgh. Alberta Whittle: create dangerously will open on 1 April 2023 and will run until 7 January 2024. 

Experience the ambition and breadth of Alberta’s career to date and come away feeling her call to ‘invest in love'. At the heart of Alberta Whittle: create dangerously is the artist’s generous spirit which promotes compassion and collective care as means of resisting racism and anti-Blackness. Through powerful and poetic storytelling, Alberta confronts the violence of colonialism, the legacies of the Transatlantic trade in enslaved people, and impact of the climate crisis. Alberta pulls apart the belief that ’racism and police brutality is [just] an English problem or an American problem’. Instead, she underlines Scotland’s complicity in the structures of white supremacy. Often deeply personal, weaving stories of family and belonging, Alberta offers a message of hope, asking us to imagine a world outside of these damaging systems and ways of thinking. 

Taking over the ground floor of Modern One, this will be the largest exploration of the artist’s works to date. The exhibition will offer a survey of Alberta’s expansive practice, featuring sculptures and installations, digital collages, drawings and watercolours, and new works made especially for the show. These include a group of new paintings, a striking addition to the artist’s ongoing series of digital collages and a wall-based multi-part relief sculpture, designed to be interacted with by visitors.

Alberta Whittle: create dangerously will mark the return of two major works to Scotland, which gained critical acclaim at the 59th Venice Biennale, 2022. Alberta’s extraordinary tapestry, Entanglement is more than blood (2022) created in collaboration with Dovecot Studios, and her thought-provoking film, Lagareh – The Last Born (2022) co-commissioned and produced with the support of Forma – both commissioned by Scotland + Venice as part of her new body of work deep dive (pause) uncoiling memory presented at the 2022 Venice Biennale. 

Entanglement is more than blood is a large-scale tapestry on a gate-like structure. Characteristic of Alberta’s art, it is imbued with rich symbolism, including water, snakes, diamonds, hands, and shells. Acting as a portal, the tapestry explores the meaning of family, kinship and ancestral histories, themes that will echo throughout the exhibition. The imagery in the tapestry is also seen in Lagareh – The Last Born. Centring the collective strength of contemporary Black womxn, this 43-minute film is anchored in ideas of abolition, rebellion, grief, and love. Shot on location in Scotland, London, and Barbados, and featuring footage from Sierra Leone and Venice, Alberta has woven together contrasting stories of individual acts of resistance against racist violence with gentle moments of intimacy. Lagareh – The Last Born will play continuously throughout the day, and for visitors who wish to see it from the beginning, screening start times will be made available in the gallery and on the National Galleries of Scotland website.

Step inside a sound installation and listen to the voice of poet Kamau Brathwaite (1930-2020), a much-loved and hugely influential figure in Caribbean literature. Dealing with the themes of grief and loss, Alberta made this in personal tribute to Brathwaite, who was a close friend of her family as well as a collaborator. Titled A portal for breathing love into the Elders or an Adoration for kith-folk who we long for (2021), this installation is comprised of objects of significance to the artist.

There will be a room dedicated to addressing the themes of rest and care, and connection and belonging in Alberta’s practice, where you can slow down and pause. Inside this room, visitors will find a beautiful bespoke quilt hanging on the wall, crafted by a group of women from North Edinburgh.  Inspired by Alberta’s practice and use of textiles and fabrics in her work, the quilt is being caringly made by a sewing group run by Project Esperanza, a charity dedicated to supporting women of African heritage, as well as women from other culturally diverse backgrounds. Facilitated by textile artist Francia Boakye, this quilt draws upon the makers’ lived experiences, weaving together their stories and their journeys as migrants to Scotland.   

Alberta Whittle said: ‘This is an exhibition about hope. It is about the hope we can nurture within ourselves, but also the hope that we can have difficult conversations about the harm caused by colonialism, the Transatlantic trade in enslaved people, and the climate crisis. The exhibition presents an opportunity for self-reflection, and to think about the types of power we hold in the world and how we can use it compassionately.’ 

Lucy Askew, Chief Curator of Modern and Contemporary Art at the National Galleries of Scotland, said: ‘We are incredibly happy to reveal more details about Alberta Whittle: create dangerously. This hugely important exhibition, devoted to the work of one of the leading artists working in Scotland today, is underpinned by Alberta’s deep generosity and warmth. Alberta speaks of fundamental truths about the violence and injustices of our past – ‘the burden of proof’ – and the legacy of systemic racism which permeates through our society today, asking us to confront this with her. With compassion and care, she holds and guides us, encouraging us to pause, to breathe, and to think differently.’

Jenny Waldman, Director of Art Fund, said: ‘The screening tour of Alberta Whittle’s eloquent and multi-layered film, Lagareh – The Last Born, has brought it to audiences across Scotland; continuing to include and empower viewers as it did at the Venice Biennale last year. And now, Alberta Whittle: create dangerously at National Galleries of Scotland is enabling as many people as possible to view and enjoy this important work in the context of the artist’s major solo show. It is thanks to our members and supporters that Art Fund can help share the best of contemporary art, like this, across the country.’