Enhanced descriptions from Syndetics:

What makes Scottish art Scottish? What are the threads that bind it into a single tradition? Many factors have formed the character of Scottish art, but it is also rich in distinctive personalities and individual genius.

Table of contents provided by Syndetics

• Preface (p. 7)
• Chapter 1 Prehistory and Early History (p. 8)
• The First Art
• The Early Celts
• The Influence of Rome
• Chapter 2 The Development of Christian Art (p. 18)
• Picts and Gaels
• Northumbrians
• Books and Crosses
• The Lordship of the Isles and the West Highland School of Sculpture
• Chapter 3 Loss and Reconstruction (p. 36)
• Reformation and Rough Wooing
• George Jamesone and the Rebirth of Scottish Painting
• A Grammar of Painting in Place
• Chapter 4 Classicism and Celticism (p. 51)
• A Landscape made Classical
• Artists and Intelligentsin
• Hamilton's Iliad
• The Origin of Painting
• Runciman's Ossian
• Chapter 5 Art and Philosophy (p. 72)
• Henry Raeburn and Alexander Nasmyth
• Interpreting the Enlightenment: David Wilkie
• Towards a National School of Sculpture
• Chapter 6 Nineteenth-Century Narratives (p. 93)
• Hispanicism, Orientalism and Scottish History
• Painting, Religion, Photography
• Wilderness as Backdrop
• Looking Inward: David Scott and William Bell Scott
• Artists and Antiquarians
• Robert Scott Lauderand his Students
• Heroes and Monuments
• Chapter 7 Modernity and Revivals (p. 130)
• The Glasgow School of Painting
• Mackintosh's Glasgow
• Photography and Etching
• Arts, Crafts and Celtic Revival in Edinburgh
• Chapter 8 Twentieth-Century Pluralism (p. 159)
• The Colourists
• The Edinburgh Group
• The Scottish National War Memorial
• James Cowie and his Influence
• Experimental Landscape
• Glasgow in the 1930s and 1940s
• Post-War Diversity
• Epilogue: Deconstructing Stereotypes and Reappropriating Symbols
• Select Bibliography (p. 216)
• List of Illustrations (p. 219)
• Index (p. 222)

Reviews provided by Syndetics

Library Journal Review

This slender, well-written volume fills a gap in the study of British and Western art history by examining the history, common characteristics, and achievements of the art of Scotland. Scottish art has too often been treated as an appendage to English art. The author examines the development of the art from early Celtic times to the present. For a volume covering so much time, this leaves readers with a surprisingly good idea of the main points of each age. The larger question of the common features in this art, such as Celtic designs, the harsh and beautiful landscape, and the poverty and difficulty of life that emerge over and over, are thoughtfully discussed. Although this book examines all artistic media, the most glorious plates in this volume are of the oil paintings, particularly those of such great Scottish masters such as Henry Raeburn, David Wilkie, Allan Ramsay, and John Alexander. The author covers his subject well, and the reader certainly is left with a greater appreciation of Scottish art. This is a volume for every serious art library.--Martin Chasin, Adult Institute, Bridgeport, CT (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.