As the National Galleries of Scotland opens Joan Eardley | The Nature of Painting at Modern Two, a remarkable rediscovery has brought one of her paintings back into public view more than sixty years after it was last handled by The Scottish Gallery.
In the summer of last year, The Scottish Gallery received an unexpected call. A manager from a charity shop in the East Midlands had taken in a dark, unassuming painting through a house clearance donation.
On the reverse, a worn and fragmentary label revealed just six words: “Summer, Joan, Exhibited, The Scottish Gallery.”
Intrigued, Director Tommy Zyw turned to The Scottish Gallery archive. After searching through its historic day books, he uncovered a handwritten entry from May 1961 recording the sale of a painting titled Summer Fields by Joan Eardley. The possibility was compelling.
The painting was retrieved and brought to Edinburgh for inspection. From the moment it was unwrapped, its authenticity was clear. The surface, the handling, the authority of the mark all pointed unmistakably to Eardley. Sixty-four years after it had left us, Summer Fields had returned.
Conservation brought the work back to life, revealing an atmospheric landscape painted in the final years of Eardley’s life in Catterline. A corner of a farmer’s field is caught in the golden light of late September, with the foreground alive with textured grasses and seed heads. It is a deeply observed and quietly powerful work, rooted in the landscape that she loved and defined her practice.
The painting was unveiled by The Scottish Gallery at the British Art Fair in September 2025, where it attracted significant attention, and was later exhibited at the gallery on Dundas Street, Edinburgh.
It has recently been acquired by a distinguished collector of Scottish art. Its rediscovery carries impact beyond the art historical. Sold on behalf of the charity from which it emerged, the work achieved the largest single work sale in the charity’s history of £29,500, directly supporting vital medical research in the UK.
Tommy Zyw, Director of The Scottish Gallery commented:“This story speaks of the enduring power of Joan Eardley’s painting and of the role of careful stewardship, archives, and expertise in bringing such works back into the public arena.
“From Joan Eardley painting this work in Catterline, its sale in 1961, decades enjoyed privately then its arrival on the charity shop’s shelf, to the phone call that started its return to Scotland; we have been proud to support Summer Fields on its continuing journey.”
Since first exhibiting Joan Eardley’s work in 1955, The Scottish Gallery has played a central role in shaping and sustaining her reputation through scholarship, exhibitions, and careful placement in major private and public collections, ensuring each work is presented with context, care, and authority.
The Gallery sells many works on behalf of private clients and families, offering a discreet and considered alternative to auction, allowing works to be placed directly with committed collectors and achieve consistently strong results without the uncertainty of a single sale day.
Running from 2 April to 28 June 2026 at Modern Two, the National Galleries of Scotland exhibition brings together over 30 works by Eardley, alongside paintings from the national collection.
It places Eardley’s work within a wider artistic context, revealing her engagement with both international and Scottish contemporaries, while reaffirming her status as one of the most powerful painters of the twentieth century.
It is a timely moment to reflect not only on her legacy, but on the extraordinary journeys her paintings can take.
An Edinburgh-born painter who built her practice in Glasgow has been awarded a major UK art residency, securing a year-long Freelands Studio Fellowship at the University of Brighton.
Alice Campbell, who graduated with First-Class Honours from Duncan of Jordanstone College of Art & Design in Dundee in 2017, has been selected for the highly competitive fellowship, which supports emerging artists with time, funding and studio space to develop their work within a leading art school environment.
The fellowship, delivered in partnership with the Freelands Foundation, is designed to foster exchange between professional artists and students, combining teaching, mentorship and creative development. Hosted within the School of Art and Media at the University of Brighton, the fellowship will enable Alice enjoy institutional support while deepening her practice over the year.
Originally from Edinburgh and having lived and worked in Glasgow for several years, Alice has recently relocated to Brighton to begin the 12-month residency. The fellowship provides a £33,000 bursary alongside a dedicated studio and mentoring support, enabling her to expand her large-scale oil painting practice while working closely with students.
Alice is known for richly layered paintings influenced by magical realism and the Proto-Renaissance period, blending historical visual language with contemporary questions around identity, connection and storytelling.
Her work often depicts groups of figures at ease in one another’s company, inviting viewers to actively participate in constructing meaning within the scene.
Alice said: “I’m so delighted to have been selected for the Freelands Fellowship at the Brighton School of Art and Media. It really feels like a once in a lifetime opportunity to have the time and space to experiment in order to develop my practice in a nurturing art school environment.
“Having just moved down to Brighton from Scotland, I’m excited to see how the change in location as well as the wealth of new influences affects my work. Additionally, I’m looking forward to working with the painting students and enjoying being in such a vibrant, creative atmosphere.”
Throughout her career, Alice has remained closely connected to the Scottish art community, having developed her practice between Edinburgh and Glasgow. She is also represented by Castlegate House Gallery in Cumbria.
The fellowship is designed to create a dynamic environment where artists and students benefit from mutual learning, mentorship and creative exchange.
Professor Tamar Jeffers McDonald, Dean of the School of Art and Media at the University of Brighton, said: “The Freelands Fellowship brings enormous value to our painting community. It gives students direct insight into sustaining a contemporary artistic practice while contributing to a rich exchange of ideas across the School.
“Alice’s imaginative, narrative-driven work and her engagement with historical influences in a contemporary context will offer a compelling perspective for our students. We are thrilled to welcome her to Brighton.”
The Freelands Studio Fellowship and residency at the University of Brighton will culminate in a solo exhibition at Phoenix Art Space in Brighton.
Lucy Day, Executive Director at Phoenix Art Space, said: “In recent years, Phoenix Art Space has welcomed Freelands Fellows whose exhibitions have been enjoyed by our artistic community and attracted strong public engagement.
“We are delighted to be working with this year’s Fellow, Alice Campbell, through our partnership with the University of Brighton and Freelands Foundation. We look forward to hosting the exhibition and sharing her work with audiences.”
A spokesperson of the Freelands Foundation, said: “We believe in the symbiotic benefits of teaching and making, and that placing an artist in residence in the art school studios is an invaluable resource for students and staff alike.
“We are delighted to welcome Alice Campbell as Brighton’s next Studio Fellow and look forward to seeing how her practice evolves over the coming year.”
Through the fellowship, Alice hopes to have the time and freedom to experient and develop her practice in exciting, rewarding and possibly unpredictable ways. She hopes to create an ambitious body of new work by the end of the year.
Have you experienced loss in the past two years? Join us for gentle, creative walks, designed especially for those navigating grief.
Together, we’ll explore the local landscape through art-making, reflection and connection.
Facilitated by Caledonia Funeral Aid’s Emma Ritchie and St Columba’s Hospice’s community artist Isla Macleod, you will be warmly welcomed to share space with others who understand and find comfort in nature and community.
Talented local Edinburgh artist Joe Capps has seen a significant surge in commissions following his recent appearance on the prestigious Sky Arts competition, Portrait Artist of the Year.
Joe, whose distinctive style captured the attention of viewers nationwide, participated in Series 12 of the hit show, where he was tasked with painting the acclaimed singer and songwriter Jacob Collier.
Competing in the high pressure environment of the studio in front of a live audience, Joe produced a striking portrait of Collier within the four hour time limit. While he did not progress to the final rounds, the response from the judges and the public alike has been overwhelmingly positive. Since the episode aired, Joe has seen a record number of enquiries, leaving the artist inundated with new commissions.
Joe commented: “The response to the show has been incredible. Participating in Portrait Artist of the Year was such an intense but rewarding experience.
“Painting someone as creative as Jacob Collier in just four hours was a massive challenge, but the feedback I’ve received from the public since then has been really heart warming.
“I’m so grateful for all the support I’ve received, and I’m looking forward to an incredibly exciting 2026.”
Joe’s rise in the art world is particularly notable given his background. A self taught artist, his formal art education ended after school. However, his career has been defined by a dedicated period of stylistic refinement. This journey led to his 2019 debut solo show, Atlas, in Kendal, and a 2021 showcase for Around The House Productions.
The momentum continued into 2025; alongside his television appearance, Joe’s piece Artemis was long-listed for the prestigious Jackson’s Art Prize. He is currently in the process of devising his second solo exhibition, further cementing his reputation as a rising talent in the contemporary Scottish art scene.
As his profile continues to grow, Joe remains committed to his commission work. He offers a diverse range of bespoke services, including personal portraits, celebrity studies, wedding portraits, and pet portraits.
For more information on Joe’s work, to view his portfolio, or to enquire about future commission availability, visit: https://www.joecappsart.com/.
Visitors captivated by moving immersive experiences on opening weekend at the Royal Highland Centre
Art lovers have flocked to the opening weekend of two atmospheric multimedia experiences which plunge viewers into the colourful worlds of a pair of iconic artists.
Beyond Van Gogh and Beyond Monet are being staged at the Royal Highland Centre until Friday, 2 January 2026 – with Edinburgh hosting the Scottish premiere of Beyond Monet which celebrates the life and work of the ‘Father of Impressionism’.
The two experiences were officially opened on Friday evening during a special press and VIP launch event at the prestigious Edinburgh venue.
They will run on different days throughout the five-week residency, and tickets for both are being sold separately. The attraction is closed on Christmas Eve and Christmas Day.
Along with the stunning 360-degree visual and audio experience in the 10,000sq ft main space, each experience will include the chance to linger in captivating new reflection room which extends the magical world of both artists.
Produced by Annerin Productions and Paquin Entertainment Group, Beyond Monet: The Immersive Experience celebrates the groundbreaking work of the French artist in mesmerising and colourful fashion.
In the immersive impressionist extravaganza, cutting-edge technology breathes new life into more than 400 of the legendary French painter’s canvases, taking visitors on a spectacular and unforgettable audio-visual journey through his captivating and colourful world.
Beyond Monet brings together some of the artist’s most famous paintings – including Poppies, Impression: Sunrise and his exquisite Water Lilies series – with lesser-known works which all swirl around the space, offering a fresh and exciting new look at much-loved masterpieces and a deeper connection with Monet, his subjects and his innovative technique.
Taking inspiration from Musée de l’Orangerie in Paris, the designated home of Monet’s works, visitors can freely roam the Infinity Room where they are transported inside the paintings themselves to the accompaniment of a moving original score.
Meanwhile, Beyond Van Gogh: The Immersive Experience brings together more than 300 of the Dutch post-Impressionist icon’s paintings blended with cutting-edge technology and a specially curated musical soundtrack to tell the story of one of history’s most influential artists, with people able to wander through iconic works – including The Starry Night, Sunflowers and Terrace of a Café at Night – as they came alive around them.
The visit is also enhanced by the addition of a new ‘reflection’ room. All art lovers will be able to enjoy walking through Waterlily Alley, an enchanting recreation of Monet’s gardens at Giverny, and a bloom-flanked Sunflower Alley paying tribute to Vincent Van Gogh.
Edinburgh visitors are only the second to experience the new space which received its world premiere in Liverpool this summer.
In addition, the residency at the Royal Highland Centre includes two bespoke Relaxed Sessions, designed with support from Scotland’s We Too! Inclusive events charity, to enable neurodivergent visitors to enjoy both experiences to the full.
The Beyond Monet Relaxed Session will be between 11am and 2pm on Tuesday, 16 December and the Beyond Van Gogh Relaxed Session on Wednesday, 17 December from 2.30-4.30pm.
And a special Lothian Service 98 shuttle will run to the venue on Saturdays and Sundays, departing from the Assembly Rooms in George Street, with stops at Shandwick Place and Haymarket and then following the same route as the number 31 bus.
The shuttle will operate every half an hour outbound from 9.15am to 4.45pm, and will make the return journey from 11.10am to 5.40pm. Full details of the exact route and fares are available from www.lothianbuses.com
This is Annerin Productions’ third visit to Scotland following Beyond Van Gogh at Glasgow’s SEC in2024 – where it won critical acclaim and was seen by 50,000 visitors, and at the P&J Live in Aberdeen this summer.
It is the first time the entertainment company has staged anything in Edinburgh.
The Royal Highland Centre is Scotland’s biggest indoor and outdoor venue. Located at Ingliston to the west of the city centre, with good transport links including the A8, motorway network and Edinburgh Airport, it welcomes more than one million visitors a year and delivers some of the biggest events in Scotland.
It makes it the perfect location for Beyond Monet and Beyond Van Gogh.
Anna Parry, UK Business Development at Annerin Productions, said: “What a wonderful opening weekend in Edinburgh – I’m absolutely thrilled with the response to Beyond Monet and Beyond Van Gogh that we’ve enjoyed here in the Scottish capital.
“Visitors have been enchanted and many have also been moved by being immersed in the wonderful worlds of these two visionaries with a paintbrush and palette.
“The way in which both experiences have been designed means they are completely accessible to people of all ages, making it the perfect family-friendly activity for the festive season. And I’m delighted we’re also able to offer special relaxed sessions at the Royal Highland Centre with the support of We Too!”
VENUE: Royal Highland Centre, Ingliston, Newbridge, EH28 8NB.
DATE: Saturday 29 November – Friday 2 January 2026 (closed Christmas Eve and Christmas Day)
TIME: Starting from 10am
PRICE: From £23.94 for adults (Concessions are available). VIP entrance from £41.47
Family Ticket and VIP Experience tickets available
Three and under go Free
(Booking fees not included). | Flexible entry ticket types available
Entry is by timed ticket. No change of date or time is permitted unless you have purchased flexible ticket add on. Please arrive 15 minutes before your entrance time.
VIP Experience includes flexibility to arrive at any point until 4pm on your selected date, fast track entry and choice of selected merchandise package.
Having lived at National Galleries Scotland: Modern Two since the early 2000’s, a triumphant effort has seen the sculpture travel through the city to its new location at the National.
Dr Patricia Allerston, Deputy Director & Chief Curator of European & Scottish Art, National Galleries of Scotland said: ‘We wanted to bring the art outdoors and into the gardens at the National to spotlight that we are a gallery from the moment people arrive in the gardens.
“We wanted it to welcome people in and to show a snapshot of the incredible Scottish art on offer inside. Paolozzi seemed like a perfect choice for this spot, he was very much an artist who looked to the past as well as to the future, which is very much what we are about at the National Galleries of Scotland.
“He was also from Edinburgh, which seemed very fitting as he will now be looking out over the city and facing towards his hometown of Leith.’
Taking two days and extensive pre-planning to move the impressive one tonne sculpture, it called on expertise inside and outside the gallery to make it possible. Requiring the skills of curators, conservators, collections management, specialist movers with specialist kit including a crane and gimble to get the statue in position.
Master of the Universe is based on a famous drawing by William Blake, which shows the scientist Isaac Newton. Paolozzi used the same pose as in the Blake drawing but has mechanised the figure.
The artist also fashioned it to put himself in the picture, creating himself as the sculpture. Interested in the relationship between nature, science and the man made, Paolozzi brought all of this together to create Master of the Universe.
Visit National Galleries Scotland: National to see Master of the Universe and lots of other free art, including the greatest collection of Scottish art in the world.
With Friday 10 October marking World Mental Health Day, community group, Lothians Speak Their Name, have shared the ‘powerful’ effect that art has had since the passing of their loved ones.
A recent survey by the National Galleries of Scotland found that 84% of total visitors to the galleries felt their visit had a positive impact on their wellbeing.
Co-director of Lothians Speak Their Name, Sue Henderson, says she has seen and experienced first-hand the positive impact art can have on mental health.
The group, which was originally set up to create a quilt in memory of people who have died by suicide in Edinburgh and the Lothians, have been regularly visiting exhibitions and displays at the National Galleries of Scotland ever since.
Having visited for almost a year, Sue shares how it has been an incredibly valuable experience for helping the group to navigate their loss.
Sue said: “We have loved coming to the galleries so much, for some it has been powerfully beneficial.
“The tours, led by Duncan Robertson at the National Galleries of Scotland, are brilliant, for that short time it allows people to just disconnect from all the pain of their grief. It gives a moment of distraction.
“There are people in our group who never came to the gallery before, they didn’t think it was for them, but to see the impact it has on them is just incredible. Whether listening to the amazing stories of the art or just getting lost for a moment, it really can have healing powers.
“Seeing the effect it has on members of the group is so striking. One woman who lost her son to suicide, got completely lost in the art and it gave her a moment of relief from the day to day pain.
“I had never seen it be so demonstrable before, the power of art and how it can offer a distraction from the worst imaginable grief. People in the group have shared how the art can take them out of themselves and what a beautiful distraction it is.”
Art plays a significant role in enhancing mental health by providing therapeutic benefits, fostering emotional expression, and promoting overall well-being. It has been proven that art can evoke feelings of joy, nostalgia or even sadness, which can be therapeutic for individuals dealing with mental health challenges.
Over the past 20 years research on the impact of the arts on health has been growing and in 2019 the World Health Organization (WHO) published a report called ‘What is the evidence on the role of the arts in improving health and well-being?’.
The report looked at over 3000 studies from around the world which concluded that the arts play a major role in preventing and managing health. It identified the contribution that the arts may have in promoting good health and health equity, preventing illness, and treating acute and chronic conditions across the life-course.
This has launched further studies by WHO and the Jameel Arts & Health Lab in 2023 on the health benefits of the arts. As well as the Lancet Global Series Photo Essay which findings re-iterate the crucial importance of creativity within the sphere of health, and the evidence-based health benefits catalysed by imagination.
Research by the John Hopkins University School of Medicine even found that spending just 30 minutes in an art gallery once a month could extend your life expectancy by 10 years.
Siobhan McConnachie, Head of Learning and Engagement at National Galleries of Scotlandsaid: ‘We are fortunate that we get to see the positive effect that art can have on people every single day in the gallery.
“But we know, and research shows, that art can do more than just put a smile on our faces, it can have real lasting impact on overall mental and physical health.
“We regularly welcome groups supporting people living with dementia, addiction recovery groups, health and wellbeing groups, mental health communities and so much more.
“It is important that art is considered holistically as a tool that can be used for early intervention and social prescribing in health, education and social care sectors.
“The power of art is truly incredible, and we are so delighted to have groups like Lothians Speak Their Name feel that in our galleries.’
Sue shared how the group have benefited from using art as a tool to connect with other people who are going through similar experiences. Brought together to make the memorial quilt, 49 people have made squares in memory of their loved ones, which hold the stories of their loves and lives.
As well as creating this beautiful memorial, it has brought people together as a community, where they’ve found support and friendship.
Sue added: “Our group was born out of the idea of making a quilt which remembers those we loved. Each square would represent someone in a positive way who was loved and lost, whether it included the things they loved or a fond memory of them.
“Some people in the group had never done anything like this but everyone felt how therapeutic it was to focus on something positive about their loved ones lives.
“There is something about being involved in a group activity together, whether creating the quilt or visiting the galleries. In the group everyone has experience of loss but that wasn’t the always the focus when we got together, the focus was also on creativity.
“There was never any pressure to talk about our losses. But what we found was that when everyone was distracted making their squares or looking at the art, conversations happened a lot more easily because the art was offering something else to focus on at the time.
“Often memories come with nothing but pain, but using art and creativity allowed everyone to remember the things they loved about the person, or to remember the good times.
“There are of course people who would come along, and they would never talk about their loss and that was okay too, because they still got to be in a room of people who understood what they were going through and that was support enough. They could come along and just immerse themselves in the task of creating the square.
“It was after we started making the squares that we reached out the galleries, and they offered us tours of exhibitions and displays. This just opened a whole new level of what we were doing. Some members of the group got really immersed in the visits and seeing the art offered inspiration.
“People have re-discovered their creative side and found a way to express themselves.
“Whether seeing or doing art I do believe it has a healing power. The fact we get to see the positive effect it can have on people is what I love most about this, it is an absolute privilege. So, I do really believe that art can be empowering for people dealing with mental health.”
The completed quilt has been touring around various locations in hope is that the individuals and lives it remembers will inspire viewers to start conversations about mental health and suicide and to reach out if they themselves are struggling.
It is currently one of 11 quilts on display at an exhibition in the Houses of Parliament in London.
If interested in getting involved in creating a square, please contact:
As well as running regular tours for groups such as Lothians Speak Their Name, National Galleries of Scotland also warmly invites community groups, care homes and charities to book free visits to the galleries at a time that suits them.
Activities include guided tours of the collection and exhibitions, online art discussions, dementia-friendly sessions with specific themes, and bespoke tours tailored to the needs of each group
We are so excited to welcome you to our Gala Day next Sunday 7 September, 11am–5pm! Join us for a free day of art, music, tours, makers market and children’s creative play, and scroll down to view the schedule for the day.
THREE days free story telling and art workshop for 9 to 12 year olds to learn more about climate change with Joana.
This is a great opportunity to learn new illustration and story-making skills using a variety of techniques from an industry professional and have the opportunity to have their art exhibited and a chance to learn more about some of the science behind eco-anxiety!
By producing their own illustration and story, children will get chance to be part of the Scottish international storytelling Festival!!
At Stockbridge Library on Thursday 10th, 17th and 24th July from 10.30 to 1 pm.
Drawings by Leonardo da Vinci, Michelangelo and Titian will be among 45 Italian Renaissance drawings going on display in Scotland for the first time this October, as part of an exhibition featuring more than 80 drawings by 57 artists – the most wide-ranging show of its kind in Scotland in over half a century.
Following a successful run in London, Drawing the Italian Renaissance will open at The King’s Gallery at the Palace of Holyroodhouse in Edinburgh on 17 October 2025. The exhibition will explore how drawing was key to artistic practice in all fields during the Italian Renaissance and will reveal how dynamic the art of drawing became during this revolutionary artistic period.
Lauren Porter, curator of Drawing the Italian Renaissance in Edinburgh, said: ‘The Royal Collection holds one of the finest collections of Italian Renaissance drawings, many of which were acquired during the reign of Charles II.
“The drawings cannot be on permanent display because of their sensitivity to light, so this exhibition offers a rare and exciting opportunity for visitors to see a wide variety of works from this great collection, many of which are on display in Scotland for the first time.
“Drawings were fundamental to the art of the Renaissance, allowing artists to conceive and explore ideas, refine their designs and to experiment. Being able to view these drawings so closely will give visitors a unique insight into the minds of these great Italian Renaissance artists.”
The exhibition will highlight the continued relevance of drawing today as an essential part of many artists’ practice. Two Artists in Residence,both alumni of Edinburgh College of Art and appointed in collaboration with the School, will be drawing in the Gallery on selected days throughout the exhibition’s run.
Visitors to the exhibition will also be encouraged to take inspiration from the works on display and try their hand at drawing with pencils and paper available in the Gallery.
Most drawings from the Italian Renaissance were created as preparation for projects in a variety of media, from paintings and prints to architecture, sculpture, metalwork, tapestry and costume.
They were often discarded after they had served their purpose, and only a small proportion have survived to the present day.As the drawings in the Royal Collection have been carefully preserved for hundreds of years, they can be enjoyed almost as vividly as when they were created.
The oldest drawing in the exhibition, in which an unknown artist depicts a young man sitting and drawing with a sleeping dog by his side, is around 550 years old and will be exhibited in Scotland for the first time.
Also on display for the first time in Scotland will be an elaborately worked drawing in red and black chalk on red prepared paper of the curly-haired head of a young man by Leonardo da Vinci, and Federico Barocci’s drawing of The head of the Virgin in delicately blended colourful chalks.
The idealised features of these two head studies contrast with the distorted and tormented facial expression of the grotesque head drawn by Michelangelo which will be displayed nearby.
Many drawings in the exhibition are religious in their subject matter, including Raphael’sChrist’s Charge to Peter, which is one of his designs for a tapestry to be hung in the Sistine Chapel, and Michelangelo’s The Virgin and Child with the young Baptist, which may have been created as a preparatory study for a sculpture or perhaps as a private act of devotion.
On display for the first time in Scotland, following extensive conservation work before the London exhibition, will be a cartoon for an altarpiece of the Virgin and Child by the late-Renaissance artist Bernardino Campi.
Cartoons, which were large sheets of paper used to transfer a final design onto a painting’s surface, were often executed on poor-quality paper and were never intended to be kept – let alone displayed.
It took almost 120 hours of conservation work by Royal Collection Trust conservators to prepare the work to be exhibited, which involved painstakingly removing the drawing from its deteriorating canvas backing and supporting sections where the paper had become as delicate as lace.
The exhibition includes many preparatory drawings for the applied arts. These drawings would be used by specialist craftsmen to translate the artist’s design into another medium. Included in the exhibition is a colourful design for a painted wooden ceiling incorporating the scene of David slaying Goliath by an unidentified Roman artist, and an extravagant and asymmetrical 1.36-metre-high design for a candelabrum which features a riot of different motifs – presumably acting almost as a menu, from which a patron could select the elements he liked the most.
A section of the exhibition will examine how Italian Renaissance artists observed and explored the natural world, from a study of a branch of a blackberry bush by Leonardo da Vinci, capturing the vigorous nature of the bramble’s growth, to a drawing attributed to the Venetian artist Titian of an ostrich, believed to have been drawn from life, perhaps when the animal arrived after being imported into the port city as an exotic curiosity.
As well as works by the most famous names of the Italian Renaissance, the exhibition will give visitors an insight into the work of lesser-known artists who produced some of the finest drawings of the period.
Many of these works have never been shown in Scotland before and include a striking charcoal portrait of the head of a youth, which has been attributed to Pietro Faccini, and the imposing pen and ink drawing of a seated St Jerome by Bartolomeo Passarotti.
Following a successful launch in 2024, The King’s Gallery will continue to offer £1 tickets to this exhibition for visitors receiving Universal Credit and other named benefits.
Further concessionary rates are available, including discounted tickets for young people, half-price entry for children (with under-fives free), and the option to convert standard tickets bought directly from Royal Collection Trust into a 1-Year Pass for unlimited re-entry for 12 months.
