Category: city centre

‘There is no future for the Fringe without art. There is no art without artists’

FRINGE BOSS WADES IN TO ARTS FUNDING FURORE

To whom it may concern: As the 2024 Edinburgh Festival Fringe comes to a close, an open letter from SHONA McCARTHY, Chief Executive of the Edinburgh Festival Fringe Society

As the curtain falls on the 2024 Festival Fringe, much is being discussed in the spaces,  rooms, cafes, and streets of Edinburgh, on the success of this year. 

Today it was announced that 2.6 million tickets were issued during the 2024 Fringe, however there is no doubt that the current environment for artists across the UK is of great concern; and the fragility of the performing arts community is palpable.

An outward veneer of success cannot mask the struggle for artists to emerge let alone thrive in the UK right now. While Fringe 2024 has been brilliant, and it is to be celebrated that artists, companies, venues, producers and promoters took huge financial risks and pieced it together and put on the show.

However, the dominant message as we close this year’s festival is that there is no Fringe without art. There is no art without artists.

The cumulative effect of the relentless rise in the cost of everything, and an unhelpful policy environment facing the arts sector has resulted in widespread concern that is keenly felt by artists. 

From the availability of affordable accommodation, blunt policy changes which have consequences for major events, to continuous public sector cuts; we need to ensure that the hard won and fragile success isn’t met with complacency by those who can influence change. 

It is not enough to have old stories of how important Edinburgh’s festivals were in providing healing and connection after the Second World War. They are important now, contributing hugely to health, well-being, joy and job creation.

The Edinburgh Fringe vision is to give anyone a stage and everyone a seat. That is a commitment to inclusion, to freedom of expression and to being allowed to try and to fail. It is a vision that is increasingly easier to say than it is to do.

I have worked in the arts across the UK for 35 years now, and in the last two decades there has been a journey away from elitism, monoculturalism and exclusion with inspiring developments in access to the arts for all, with still a long way to go.

If the UK continues on an upward trajectory of cuts to arts education, and Scotland continues to decimate  investment in the sector, breaking  promises of support;  then we are on a direct course to job losses, exclusion and boring art that is only the privilege of those who can afford to be part of it, as performers or as audiences.

Here at the Fringe and across the UK, the pipeline of creative potential is under threat. Artistic risk and ambition is hamstrung by an operating context that squeezes out emerging artists that have made the Fringe globally renowned, unique and joyful. 

How can the Edinburgh Fringe remain exemplary, exciting, experimental; the only place in the world to be every August?  As the most influential arts marketplace in the world, this year over 1,800 arts industry accredited with the Fringe Society, and came to Edinburgh to seek new work for onward touring and broadcast opportunities. Nearly 900 accredited media reviewed shows, interviewed artists and worked tirelessly to support the 3,746 shows that took place this year.

There is no future for the Fringe without art. There is no art without artists. Artists and the venues who host them are at the heart of this event, and there would be no Fringe without them. 

They take the risk of bringing work to the festival every year, and while the arts landscape is at a crossroads, we need to ensure that the Fringe, one of the greatest celebrations of arts and culture in the world, is protected for the future. 

As we celebrate the hundreds of thousands of people who have been moved, delighted, awed, shocked and entertained by the stories artists present across Fringe stages, it feels that now, more than ever, we must not take artists for granted; we would do so at our peril.

SHONA McCARTHY,

Chief Executive of the Edinburgh Festival Fringe Society

Edinburgh International Film Festival draws to a close – and celebrates a new beginning

 The relaunched Edinburgh International Film Festival (EIFF) has drawn to a close following a seven-day programme of sold out premieres, talks, retrospectives and well-received industry events.

The Festival ran from 15 – 21 August with 37 new feature films, 18 World Premieres including 10 World Premieres competing for the new Sean Connery Prize for Feature Filmmaking Excellence,  won by Jack King’s The Ceremony and 5 short film programmes including the new Thelma Schoonmaker Prize for Short Filmmaking Excellence competition, won by Trevor Neuhoff’s Manny Wolfe.

The Festival hosted 6 special retrospective screenings with introductions from special guests plus packed In Conversation events with iconic filmmaker Gaspar Noé, legendary editor Thelma Schoonmaker and filmmaker Alex Garland and producer Andrew Macdonald in conversation.

The Festival launched a strand of thrilling Midnight Madness screenings beginning with the UK Premiere of Fede Alvarez’s Alien: Romulus and concluding with Corelie Fargeat’s The Substance which added to the seven-day celebration of world-class new cinema championing a new generation of UK and international talent and seeing audiences, press and industry engage with the best of Edinburgh’s other arts and cultural Festivals.

The Festival captured audiences’ imagination across the city who responded with support, attendance and admiration. EIFF this year initiated groundbreaking new collaborations working with venue partners Cameo Cinema, Summerhall; 50 George Square in partnership with Assembly Festival; Inspace in partnership with Monkey Barrel Comedy; and Tollcross Central Hall, in a programme which embedded the Festival in the heart of the Fringe landscape.

With 170 screenings and 13 Industry events, the Festival saw a total in person attendance of over 12,000.

The Industry Programme was very well received by attending guests with praise for EIFF as a place to gather and share ideas whilst championing the spirit of independent cinema on a global and local level.

Well-attended events running across the first weekend of the Festival included a Scrapper to Screen: A Case Study panel event which explored the development to distribution of the hit 2023 film Scrapper; a Stand Up To Screen panel involving creatives who have transitioned from live performance/TV to filmmaking, a documentary panel in partnership with Scottish Documentary Institute and networking events in partnership with Screen Fringe, Summerhall, Monkey Barrel Comedy, BBC Film, Screen Academy Scotland and NFTS Scotland.

The Festival kicked off on 15 August with Nora Fingscheidt’s The Outrun starring Saoirse Ronan and presented a selection of compelling new and established voices in cinema including 18 World Premieres and 19 UK Premieres. Closing the Festival was the World Premiere of Carla J. Easton and Blair Young’s powerful new documentary Since Yesterday: The Untold Story Of Scotland’s Girl Bands, which sat within a programme with a strong presence for Scottish filmmakers and Scottish talent.

The Festival programme showcased new work from filmmakers from Scotland, UK, US, Canada, Mexico, Norway, China, Kazakhstan, Belgium, Iran and beyond. 

Every film screening was introduced by a member of the team, and BSL interpretation was offered at all screenings that were presented with Descriptive Subtitles.

The Festival welcomed over 100 filmmakers, producers and distributors to present their films.

Filmmakers and actors attending the Festival included Thelma Schoonmaker, Alex Garland, Andrew Macdonald, Gaspar Noé, Saoirse Ronan, Brian Cox, Nora Fingscheidt, Amy Liptrot, Damian Lewis, Euros Lyn, Kelly Macdonald, Nina Conti, Alice Lowe, Kate Dickie, Fionn O’Shea, Mark Cousins, Sophie Fiennes, Ben Rivers, Greg Kwedar, Lauren Lyle, Abdolreza Kahani and many more.

EIFF Director, Paul Ridd said: “I am thrilled with what has been achieved these past seven days after months of hard work, dedication and diligence from my incredible team.

“From packed out screenings of Competition Titles from all over the world to fascinating talks with film legends, from lively industry panels and networking events to Midnight Madness and especially introduced classics, we have celebrated film and film culture in all its glory in a host of different spaces with lively, enthusiastic audiences.

“We are so excited for the future and expanding on the collaborative, cooperative spirit of our new festival. EIFF 2025, bring it on.”

Isabel Davis, Executive Director, Screen Scotland said: “A massive congratulations to Paul and his very talented team on this first edition of the resurgent Edinburgh Film Festival.

“The calibre and diversity of international and local filmmaking talent represented across the programme, from Thelma Schoonmaker, Gaspar Noé, Alex Garland and Mark Cousins, the new energy coming through the collaboration with the Fringe and venues across town have set the direction and ambition for the festival. Congratulations to all involved.”

EIFF 2024 is supported by Screen Scotland and the BFI Audience Projects Fund, awarding National Lottery funding, the Industry Programme is backed by EXPO funding from the Scottish Government through Creative Scotland, and EventScotland part of VisitScotland’s Events Directorate.

Edinburgh International Film Festival ran from Thursday 15 to Wednesday 21 August 2024.

Helmed by Festival Director Paul Ridd and Festival Producer Emma Boa, EIFF creates a world-class showcase for independent film and filmmaking talent.

Former Acquisitions Executive Ridd is supported by an expanding Board, including Chair Andrew Macdonald of DNA Films, producer of the iconic Edinburgh-based film Trainspotting; Peter Rice, former Chairman of General Entertainment at Disney and President of 21st Century Fox; and Amy Jackson, producer of last year’s BAFTA award-winning indie, Aftersun. 

Edinburgh’s visitor levy scheme takes another step forward

PLANS for a Visitor Levy in Edinburgh took another significant step forward yesterday (22 August), as councillors agreed key details of the draft scheme.

It is anticipated that the levy will generate tens of millions of pounds a year to reinvest in the city’s infrastructure and sustainable tourism from summer 2026.

A formal 12-week public consultation seeking further input from residents, visitors and businesses, will commence in the coming weeks. This will inform the final scheme, which will be agreed in January 2025, allowing the 18-month implementation period to begin.

Edinburgh will become the first place in the UK to launch such a city-wide levy, which will drastically help the Council manage the demands of increased tourism while ensuring sustainable investment in the visitor economy, public services, city maintenance, affordable housing and preserving the Capital’s cultural heritage.

Edinburgh Council backed the Lib Dem proposal to split Transient Visitor Levy income, after a fixed Housing investment, between: 55% city operations 35% culture and 10% destination management.

Key highlights of the draft visitor levy scheme include:

  • Flat 5% charge per night: Visitors staying in accommodation will be required to pay a small, fixed fee per night of 5% of the accommodation cost, capped at seven consecutive nights.
  • Wide range of accommodation: The levy will apply to paid accommodation including hotels, short-term lets, hostels and bed and breakfasts, but will exclude stays in campsites.
  • Funding allocation: The levy is expected to raise £45-50 million a year by 2028/29.  Revenue generated will be reinvested directly into initiatives that benefit residents and enhance visitor experiences, such as a ‘Well Kept City Fund’, affordable housing, city infrastructure, destination marketing and support for major events and festivals.
  • Shaped with industry input: The draft scheme has been shaped by many years of engagement with local businesses, residents, and tourism stakeholders including hoteliers.
  • Expected to launch 2026: When the draft scheme is finalised, early in the new year, the Council will begin working with partners to implement the Visitor Levy and make it live by Summer 2026.

Read the full report considered by Councillors and more information on the visitor levy scheme.

The decision is a victory for Edinburgh housing campaigners and trade unionists:

Council Leader, Cammy Day, said: “We can’t take Edinburgh’s incredible cultural offering and reputation as a fantastic place to visit for granted, and a visitor levy presents an innovative way of sustaining the sector and the city.

“It will significantly increase our ability to invest in the visitor experience and the tourism pressures we face, from keeping the city clean to responding to our housing emergency, so that everyone can continue to enjoy all that the city has to offer. By better supporting these services we can secure Edinburgh’s future as a top global destination.

“These proposals have been shaped by the views of residents, visitors and industry. We’re committed to making sure this is the best levy for Edinburgh and will begin our formal consultation as soon as the Scottish Government allow.

“This is a once in generation opportunity for Edinburgh and I look forward to the many benefits a visitor levy will bring, allowing us to reinvest tens of millions of pounds in sustaining and improving the things that make our city so special – for our visitors and residents who live here all year round.”

Neil Ellis, Chairman of the Edinburgh Hotels Association, said: “Edinburgh Hotels Association welcomes the introduction of the visitor levy for its intended use of improving the experience of all visitors, local, national or international, through additional spending.

“This is a fantastic opportunity to further enhance Edinburgh’s reputation on the world stage as a must-visit destination.”

Christina Sinclair, Director of Edinburgh World Heritage, said: “The visitor levy brings an opportunity to generate crucial funds to invest in our historic city, ensuring its heritage remains authentic and that the UNESCO-designated Old and New Towns of Edinburgh World Heritage Site are protected, enhanced and promoted for future generations.

Charlie Cumming, Chief Executive of the Edinburgh & Lothians Greenspace Trust, said: “ELGT are in support of the funds raised from the proposed visitor levy to provide additional resource to make improvements to the city’s public spaces. It will be encouraging to see much needed funding for the upkeep of our much-valued greenspaces that provide many benefits to residents and visitors.

“The funding will also provide an opportunity to develop sustainable improvements to help mitigate against climate change and biodiversity loss.”

Roddy Smith, Chief Executive of Essential Edinburgh, said: “We welcome the next phase of the consultation by the City of Edinburgh Council.

“The key principle for the implementation of the visitor levy remains, that the money collected and then distributed should be additional to existing Council resources and not replacement funds and be used to finance projects that primarily support the tourism sector.

“We welcome the three potential funding pots which if used appropriately will have a significant impact on how our city looks, and how we can support our crucial heritage and arts/event sectors.

“Importantly, it will also invest in dedicated marketing and promotion, to ensure our successful tourism sector continues to grow sustainably. With an effective public and private partnership driving this work, we are excited that real progress can be made.

“Edinburgh must not take our tourism sector for granted, and if the finance generated through the levy goes towards supporting our tourism sector, then the city will see economic benefits for our business both directly and in the supply chain, employment growth and much needed large infrastructure projects being delivered. This will materially benefit all the residents in the city.

“Essential Edinburgh will continue our engagement with our members, the industry and Council to move forward towards the finalisation of the scheme.’

Meet Robert Fergusson on the 250th Anniversary of his death

The Real Mary King’s Close, one of Edinburgh’s most iconic historic sites, is proud to announce an exciting new experience as part of its 2024 calendar: Meet the Poet: Robert Fergusson. This special event marks the 250th anniversary of the death of one of Scotland’s most influential yet often misunderstood poets, Robert Fergusson.

In collaboration with the University of Glasgow’s research project, The Collected Works of Robert Fergusson: Reconstructing Textual and Cultural Legacies, The Real Mary King’s Close offers an extraordinary opportunity to step back into 18th-century Edinburgh and engage directly with the life and work of the poet who captured the essence of the city like no other.

Guests will begin their journey back in time with a one-hour guided tour of Mary King’s Close, exploring Edinburgh’s only 17th-century preserved street beneath the Royal Mile.

This experience is particularly poignant as Robert Fergusson himself would have walked these very streets, frequently visiting Craig’s Close—located just next to Mary King’s Close—where he was a member of the Cape Club, an after-hours drinking society. Following the tour, guests will be treated to a unique 30-minute “meet and greet” with Robert Fergusson himself.

During this session, Fergusson will recount the story of his short but vibrant life, share some of his most beloved poems, and invite guests to try their hand at writing their own verse, inspired by his work and the rich history that surrounds them. For those wishing to elevate their experience, an optional upgrade is available, including a dram of whisky, to be shared in a toast with Fergusson.

This event is part of a broader initiative by the University of Glasgow’s research project The Collected Works of Robert Fergusson: Reconstructing Textual and Cultural Legacies, which is funded by the Leverhulme Trust.

The project is preparing a new edition of Fergusson’s complete works, due for publication by Edinburgh University Press in 2026. As part of this initiative, they are holding numerous events to commemorate the 250th anniversary of Fergusson’s death in 2024.

The project aims to give Fergusson’s literary, textual, biographical, linguistic, medical and cultural legacies the timely recognition they deserve.

Rhona Brown, Professor of Scottish Textual Cultures at the University of Glasgow, explained the significance of Fergusson’s work: “Robert Fergusson (1750-74) is one of Scotland’s most important poets, but he is often misunderstood.

“He is known for his enormous influence on Scotland’s national poet, Robert Burns, and for his tragic early death in an asylum at just 24 years of age. But there’s so much more to Fergusson than this.

“Writing in both Scots and English, one of Fergusson’s key themes is the ordinary life of Edinburgh, and he depicts the city, warts and all, in his masterpiece, Auld Reikie (1773). His poetry is astute and satirical, funny and razor-sharp. So, although the end of his life may have been tragic, his legacy is anything but.

“At the 250th anniversary of his death in 2024, we have an opportunity to rethink Robert Fergusson and to understand his legacies in new ways. We urge you to read the poems and see for yourself!”

Paul Nixon, General Manager at The Real Mary King’s Close, said: “We are thrilled to be part of the celebration of Robert Fergusson’s life and legacy.

“The Meet the Poet experience offers our guests a rare and immersive experience, where they can not only walk in the footsteps of Edinburgh’s past but also engage with one of its most compelling voices.

“This collaboration with the University of Glasgow allows us to bring Fergusson’s work to life in a way that is both educational and deeply personal.”

The Meet the Poet: Robert Fergusson event is a must-see for those interested in Scottish history, literature, and culture. It offers a unique chance to explore the lesser-known aspects of Fergusson’s life and appreciate his impact on the literary world, all within the atmospheric setting of Mary King’s Close.

Booking Information:

Tickets for the event are now available for purchase on The Real Mary King’s Close website. Due to the intimate nature of the event, spaces are limited, and early booking is recommended.

The events will be held on Friday 20th and Friday 27th of September.

For more information or to book your tickets, please visit:

https://www.realmarykingsclose.com/event/meet-robert-fergusson/

Living Spaces: Outdoor photography exhibition opens in city centre vandalism hotspots

A new outdoor exhibition of photographs by five local photographers has gone on display in Edinburgh’s busy urban thoroughfares.

Living Spaces, commissioned by Places for People Scotland, part of the UK’s leading social enterprise, has been installed in five different locations across the city, all of which were identified as vandalism hotspots following numerous repairs and treatments by the Places for People Scotland team over the years. 

After identifying the locations, Places for People Scotland brought local photographers on board, who suggested various images which they believed would work well across the sites.

The artists and Places for People Scotland recognised the importance of resident participation in this project – as these are ‘living spaces’ –  and customers living in the area were invited to  select the final images to go on display using an online poll.

The chosen photographs vary from moments of calm within the natural world, to colourful snapshots of interior and exterior life around the city.

Katie Smart, Director of Places for People Scotland said: “We are delighted to see this project come to life, our goal with this project was to transform living spaces across the city that had been victim to vandalism for both our customers whose homes are in the area and the wider Edinburgh community.

It was important to us to involve our customers in the decision process, it feels extra special knowing that the artwork has been chosen by those most affected whilst being able to provide incredible local photographers with a platform for their work.”

Christina Webber, participating photographer and Director of AGITATE, said: “It’s such a joy to see this project realised and AGITATE are proud to host a version of the work at 6WS during the Festival season.

“We love the August buzz and to be able to platform local artists to a visiting international audience is a really important opportunity.

“As a photographer, exhibiting work in alternative spaces with so many people passing each day is really exciting. Engagement with photography is so often digital, having the chance to be part of people’s everyday journeys is a privilege.”

Smaller scale versions of all the works are on display at 6 William Street (6WS) throughout August, alongside a Festival ‘rest space’ and a short programme of drop-in workshops to complement the work.

The artists whose work is included in the project are:

Dave Ferrie

Everything that exists in cities is of interest to Dave, but particularly the areas where old and new meet, and the spaces where nature and man-made structures coexist.

Dave loves exploring urban environments and photographing the moments, places and sights which grab his attention.

Kat Gollock

Kat is a graduate of both Stevenson College (now Edinburgh College) and Edinburgh Napier University, where she graduated with first class honours, and has over 15 years experience in the photography industry. 

Kat specialises in events, portraiture and live performance. As well as commercial photographic work, she teaches photography, and is an exhibited photographic artist and a published writer on the subject. 

Zoe Hamill

Zoe is a photographer from Co. Antrim, now living in Edinburgh.

She is interested in the relationship between humans and the environment, as well as the systems of classification that we use to make sense of the world around us. 

Jack Low

Jack Low is a lens-based visual artist based in Glasgow, having studied Photography and Film at Edinburgh Napier University.

Drawn into photography at a young age through an interest in technology, he has produced works critically examining modern culture, social media and the human condition through means of installation pieces and typologies.

Christina Webber

Christina is a visual artist who loves pictures, words, and their potential when put together. She completed a First Class BA (Hons) in Photography & Film from Edinburgh Napier University in 2015, and works as a Freelance Digital Communicator for a variety of clients.

Additionally, Christina is Co-Director of AGITATE, a hub for photography based in Edinburgh’s West End.

Edinburgh Fringe Showcase for Local Creatives

Nearly 80 independent designers will descend on National Galleries Scotland: National in Edinburgh this weekend for a showcase of creative talent.

In what is their debut capital city event, Tea Green Events are holding their first ever market at the beautiful venue from Friday 23 to Sunday 25 August, returning with their festive market in November.

The markets’ arrival in Edinburgh is a fitting end to the Scottish company’s record-breaking run of summer markets to celebrate their 10th anniversary.    Markets have also been held at Aberdeen Art Gallery, The Burrell Collection and Kelvingrove Art Gallery and Museum in Glasgow, V&A Dundee and Bowhouse in Fife.

Specialising in carefully curated markets within some of Scotland’s most stunning creative spaces, Tea Green Events was launched by Dundee jeweller Joanne MacFadyen who is holding a record 20 markets across Scotland this year, driven by increased demand from independent makers and the public.

Joanne said, “Our arrival at the National in Edinburgh represents a huge milestone for Tea Green Events and is a fitting finale to end our biggest ever summer run of markets which have been absolutely amazing.

“It’s extra special to be working within such a prestigious space in a superb location, a prospect I know the artists and designers are just as excited by.

“Because of the huge number of tourists visiting Edinburgh at this time, it’s a real privilege to be showcasing the very best of Scottish craftsmanship, beautiful hand-crafted pieces of work made by some truly talented individuals.

“We’ll have everything from jewellery and prints to knitwear, letterpress stationery and ceramics, truly something for everyone!”

One of the designers preparing to set out her stall is Fiona McIntosh of Edinburgh-based Tessuti Scotland, who makes a range of hand-dyed and silk-screened accessories.

Fiona, who launched her business in 1985, said, “I’ve been involved with Tea Green right from the beginning and, although I used to exhibit in London, the Tea Green markets have replaced the need to do that. In fact, they have become my main platform for face-to-face selling.

“When you work alone, it’s always brilliant to get out there and meet new people. It also reminds you why you do what you do!  As well as positioning me in front of my target audience, they’re a great way to make new business connections and meet other creatives including local stockists who are looking for new lines to sell in their shops.”

Meanwhile, Jo Walker of Jo Walker Ceramics, who originally studied jewellery design at Edinburgh College of Art, added, “Tea Green markets have made a huge difference to the way craft is portrayed in Scotland.

“In the past, art and craft have been viewed as two distinct things, with art on a pedestal and craft seen as something you tinker away with at a kitchen table. The markets have boosted the status of craft and elevated it to a presence it deserves.

“People are starting to see how much goes into making things, how much skill is involved.”

Isabella Miller, Director of Audience at National Galleries of Scotland said, “We are so excited to welcome the Tea Green’s Summer Market and all of the amazing independent designers to the National.

“We are thrilled that we can offer the beautiful surroundings of the National gallery to showcase the talents of these incredible creatives and support Scottish businesses.

“We hope this will offer something a little different for our visitors to enjoy and that people will pop in to browse the stalls then explore the art. There will be something for everyone to discover during a day out at the National!”

For more information about Tea Green Markets and the programme of events, visit https://www.teagreen.co.uk/

Operation Summer City nets drugs haul

POLICE Summer City officers continue both uniformed and plain clothed patrols, so far reporting 16 individuals for drugs offences.

Yesterday we searched a male in Edinburgh City Centre and recovered over 300 diazepam concealed in two small tubs. He was arrested and reported.

#SummerCity2024

Tonight at Edinburgh International Book Festival: Stories and Scran

Enjoy tasty food and brilliant performances from local people. Returning for its fifth year, Stories and Scran celebrates dynamic, thought-provoking work created by our Citizen participants.

Expect diverse and creative talent from Project Esperanza’s Women’s Group, WHALE Arts, the Book Festival’s own Adults Writing Group, and Citizen Collective.

And Scran Academy are back to serve up delicious, sweet treats you can enjoy during the event.

Stories and Scran runs from 8 – 9.15pm at the Book Festival’s new home at Edinburgh Futures Institute on Lauriston Place.

Supported by Jenny Colgan Books

Majestic Performance: Swiss drummers light up the Tattoo

One of the acts dazzling crowds at this year’s Royal Edinburgh Military Tattoo has taken its performance to another unique location – the rooftop of the W Edinburgh hotel in the heart of the City.

Swiss drumming group, Majesticks Drum Corps, are bringing precision drill to the capital, showcasing the extraordinary skills of around 30 drummers, entertaining audiences with incredible timing, showmanship, and a touch of humour.

With Official Tattoo Supporters W Edinburgh, set against the stunning backdrop of Edinburgh Castle, Majesticks Drums Corps drummers took to the panoramic W Deck to showcase their intricate routine.

Every evening at The Edinburgh Castle Arena, Majesticks Drum Corps deliver a blend of traditional and contemporary drumming techniques, dazzling the audience with their synchronised movements and powerful rhythms.

Their performance is a visual and auditory marvel bringing together light, fire and precision drill, designed to leave a lasting impression on audiences who’ve gathered from around the world.

For your chance to catch Majesticks in action and stay at the iconic W Edinburgh, head to the Tattoo social channels for your chance to win tickets and an overnight stay. Majesticks Drum Corps will be on show at this year’s Royal Edinburgh Military Tattoo, which runs from 2 – 24 August 2024.  

Tickets can be purchased at edintattoo.co.uk/tickets or call 0131 225 1188.

World-renowned painting by John Singer Sargent comes home to Edinburgh

One of the most celebrated paintings by world-renowned artist John Singer Sargent (1856 –1925) – Lady Agnew of Lochnaw (1864 – 32) – is welcomed home to National Galleries Scotland: National. The much-loved painting is back on display and free to visit now.

With the painting’s exciting arrival back in Edinburgh also comes a name change for this landmark portrait. The painting was on a major international tour as one of the star attractions of the Sargent and Fashion exhibition at the Museum of Fine Arts Boston and Tate Britain, London.

Following its return, the portrait has been given a fuller name – Gertrude Vernon, Lady Agnew of Lochnaw (1864 – 1932). By including her first name, this fascinating sitter can finally be recognised as an individual in her own right, beyond her status as the wife of Baronet Andrew Noel Agnew of Lochnaw.

National Galleries of Scotland is about to release a new book on the painting on 23 September, which is available to pre-order now at Lady Agnew: A Painting by John Singer Sargent (paperback) (nationalgalleries.org).

Sargent’s dazzling and unforgettable image of Gertrude Vernon is one of the most instantly recognisable portraits of fashionable London society.

For both the artist and his sitter, the painting was an instant success, reviving Sargent’s reputation as the portrait painter of choice for the London elite and immediately transforming the newly elevated Gertrude Vernon into a society celebrity.

Sargent’s image of Gertrude Vernon helped her to become a leading light in fashionable circles, holding lavish salons in her London home. Ironically, the high costs of this hospitality meant that she was eventually forced to sell some family pictures including this portrait which was purchased by National Galleries of Scotland, after Sargent’s death, in 1925.

The confident gaze and relaxed posture of Gertrude Vernon was unusual in contemporary portraiture. The spontaneous feel of the image was enhanced further by the fluid and sweeping brushwork.

More conventional portraits of respectable women had the sitters gazing downward, off to the side, or upon another person or object in the painting. To have a lady sit and stare at the viewer was unconventional, but it was enthusiastically received as bold and beautiful.

Gertrude Vernon was around 26 at the time of the painting and is believed to have walked into the studio one day and slumped herself down in the chair. Sargent liked to capture the most naturalistic pose for his sitters and so he decided to paint her portrait exactly as she appeared that day.

The exact circumstances behind the commission are not known, but the Agnews may have met the artist through mutual American friends. According to notes in her husband’s diary, work on the portrait progressed swiftly, and Sargent later recalled that it was painted in just 6 sittings.

Gertrude Vernon is shown seated in a Louis XVI chair against the backdrop of a Chinese silk hanging, both of which were standard props in Sargent’s studio.

She is reported to have been of frail health; she recovered slowly from a severe bout of influenza in 1890 and was apparently still suffering from exhaustion when she sat for Sargent. There are brilliant passages of painting in the highlights, reflections and coloured shadows that show Sargent at his best as a painter of surfaces and textures.

Sargent was born in Florence and spent his childhood travelling across Europe with his wealthy American parents who restlessly followed the changing social seasons. In 1874 he entered the Paris studio of the stylish French portraitist, Carolus-Duran.

The young Sargent combined the flamboyant style of his teacher with his study of old masters such as Rembrandt and Velázquez but was also influenced by Monet and Impressionism.

His provocative and unconventional Portrait of Madame X caused a scandal at the Paris Salon exhibition in 1884; and, when Sargent settled in London in 1886, he initially found it difficult to find clients. However, his dashing technical mastery and confident manner were ideally suited for aristocratic patronage, and he soon won over his critics with his elegant, flattering portraits.

When his portrait of Gertrude Vernon was shown at the Royal Academy in 1893, one contemporary observed: ‘London is at his feet … he has had a cracking success.’

Dr Patricia Allerston, Deputy Director & Chief Curator of European & Scottish Art, National Galleries of Scotland said: “This fascinating painting is a favourite for many visitors, and we are delighted to have it back on display at the National.

“Sargent’s compelling portrait presents Lady Agnew as a real person with a very distinctive personality. Our aim in adjusting the portrait’s title is to give visitors a bit more information about this intriguing sitter.’

Free to visit: Gertrude Vernon, Lady Agnew of Lochnaw (1864-1932) by John Singer Sargent | NGS CMS 2022 (nationalgalleries.org)