This summer the City Art Centre and Ann Lanntair, Stornoway present, Eileanach: Na dealbhan aig Dòmhnall Mac a’ Ghobhainn / Islander: The Paintings of Donald Smith. Running from 29 May to 26 September
This landmark display, part of the Edinburgh Art Festival 2021, is the first major retrospective of the work of Scottish artist Donald Smith (1926-2014).
Born in rural Lewis in 1926, Donald John Smith was, as Gray’s School of Art Principal Ian Fleming wrote in 1958 – ‘the outstanding student of his year … unquestionably a man of great ability as an artist’.
His painting acknowledged movements in Europe and America but remained resolutely local in its subject matter. From his studio on the west side of Lewis where he worked from 1974 to his death in 2014, his intense, lyrical images of island fishermen and women celebrate their indomitable human spirit.
In 2011, five of Donald Smith’s ambitious paintings of Stornoway harbour were exhibited at the City Art Centre in ‘Window to the West’, an examination of the relationship between the visual arts and Gaelic language and culture.
In the accompanying catalogue, Professor Murdo Macdonald suggested that a full evaluation of Donald Smith’s prolific and focused work was overdue.
Councillor Donald Wilson, Edinburgh’s Convener of Culture and Communities said: I’m delighted that the City Art Centre is able to showcase this fantastic exhibition of the rarely seen works of Donald Smith.
“Islander” will allow visitors to discover the man behind the works celebrating the power of the human spirit.”
Councillor Amy McNeese-Mechan, Edinburgh’s Vice Convener of Culture and Communities said: “This is a really exciting opportunity to showcase a Scottish artist whose work will be new to many people. It’s been fantastic to welcome our visitors back to the centre and this is another great exhibition for them to explore.
Curator David Patterson said: “The City Art Centre has made a deliberate attempt in recent years to showcase Scottish artists who have largely been overlooked in the story of Scottish art.
“We are therefore delighted to be partnering with An Lanntair in Stornoway to shine the spotlight on another unheralded painter. Donald Smith may not be well known by many, but hopefully this exhibition will go some way to rectify this and draw attention to a unique talent.”
Donald Smith was uniquely placed to connect the Gaelic world of the West with the English-speaking mainstream. He left the island to study at Gray’s School of Art in Aberdeen, continuing to live and work in Aberdeenshire until his return to the island in 1974.
While working as a portrait painter and teacher, Smith developed a structured, contemporary approach to painting. Being one of a number of post-war Scottish artists responding to swift social and cultural change, he saw himself as an outward looking Gael, with one foot in the culture of mainland Scotland, and one in the Hebrides. As a teacher he was dedicated and inspiring.
“…it was Donald Smith who guided our first steps and when, decades later I saw his paintings, I was delighted that they more than measured up to the man and the impression he had made on my younger self.” Arthur Watson PPRSA
Based in a crofting community on the West Side of Lewis from 1974 to his death in 2014, alongside extensive local commitments including teaching, crofting, grazings committee and community council, a steady flow of portraits, large oil panels and works on paper emerged from his studio. Island fishermen and women were transformed into iconic images of working people. Working from many hundreds of drawings and photographs, balancing the competing demands of three-dimensional space and painted surface, these are intensely lyrical paintings, celebrating the indomitability of the human spirit.
The writer and educationalist R F Mackenzie, visiting Bragar in the late 1980s found “….an artist struggling to present how he sees the earthly sojourn of fishermen, big hands deftly mending nets, a grey hard life, and the primary colours of their boats and the magnificent variety of their tackle and trim, the expression on their faces like those of the Rodel tombs and the ancient Chessmen.”
The work of Donald Smith has been exhibited at the Royal Scottish Academy, the Society of Scottish Artists, Aberdeen Artists, and many other locations. In 2019 An Lanntair staged a major display of his work to great local acclaim, although sadly a wider tour had to be curtailed due to the pandemic.
He is represented in public collections including the Nuffield Foundation, the BBC, and Art for Hospitals, with many works held in private collections. This exhibition celebrates the work of Donald Smith and attempts to address the evaluation that Professor Macdonald sought.
The exhibition is accompanied by a varied programme of public events and activities, including tours, lectures and creative workshops. All events must be booked in advance. To book please visit www.edinburghmuseums.org.uk
In keeping with Government advice in order to protect and maintain the safety of our visitors and staff, the City Art Centre has introduced a range of new safety measures and procedures throughout the venue, including a one way system, installation of screens at reception, hand sanitiser stations, extra barriers and signage and staff will of course be wearing coverings while offering visitors a very warm, socially distanced welcome.
Visitors are asked to wear face coverings and to pre-book free tickets for allocated time slots in advance via edinburghmuseums.org.uk
Islander: the Paintings of Donald Smith opens on Saturday 29th May 2020, and runs until Sunday 26th September. Admission is free, pre-booking essential.
Visitors to the gallery can also enjoy the free mini display Joan Eardley (1921-1963). The works included are: Girl in a Striped Cardigan, Tenement, Old Woman Sewing and July Fields. It is part of the nationwide programme of events marking the centenary of the birth of Joan Eardley.
Marine: Ian Hamilton Finlay 22 May – 3 October 2021 – Free admission, pre-booking essential
Edinburgh’s City Art Centre presents Marine, a two-floor exhibition of artworks by Ian Hamilton Finlay (1925-2006).
Finlay was an internationally renowned Scottish artist and Britain’s most significant concrete poet of the 20th century. Opening on 22 May, this major exhibition focuses on the maritime theme in his work. It was a central element of Finlay’s art, and one to which he returned throughout his life.
Drawn from the artist’s estate and the City Art Centre’s collection, and including loans from the National Galleries of Scotland, Marine: Ian Hamilton Finlay showcases artworks from across several decades, ranging from stone, wood and neon sculptures to tapestry.
The show also features prints, postcards and booklets from Finlay’s Wild Hawthorn Press, capturing Finlay’s interest in nautical themes across a variety of media.
On show, alongside Marine: Ian Hamilton Finlay, will be photographs from the series Ian’s Fleet by Robin Gillanders, which the City Art Centre has recently acquired for its collection.
This sequence of seven black and white photographs capture a fleet of wooden model boats made by Finlay, floating on Lochan Eck, the pond at Little Sparta. Little Sparta is the garden at Stonypath, in the Pentland Hills, where Finlay lived and worked for 40 years and is now considered one of Scotland’s greatest 20th century artworks.
The show is accompanied by an exciting events programme and a catalogue with an insightful essay by Stephen Bann, CBE, Emeritus Professor of History of Art, and Senior Research Fellow at Bristol University.
Marine: Ian Hamilton Finlay has been co-curated with Pia Maria Simig, Executor of the Estate of Ian Hamilton Finlay, and is presented as part of the Edinburgh Art Festival 2021 and Scotland’s Year of Coasts and Waters 20/21.
To coincide with the City Art Centre’s exhibition, the Scottish Poetry Library presents a small display of works by Finlay, drawn from its archive. From Sea to City: Ian Hamilton Finlay runs from 25 May to 9 October 2021.
City Art Centre Curator Maeve Toal said: “The marine theme was an early source of inspiration for Finlay and continued to be a recurring influence throughout his life. Indeed, boats proved to be an inexhaustible subject.
“Taking its title from the earliest work in the exhibition, Marine (1968), this show brings together artworks which span Finlay’s entire artistic output, stretching from the 1960s through to the 2000s.
Councillor Donald Wilson, Edinburgh’s Convener of Culture and Communities said: “We are delighted that the City Art Centre is able to showcase this extensive exhibition of works by Ian Hamilton Finlay.
“Finlay was one of the most versatile artists of his generation. With the assistance of collaborators, Finlay translated his ideas into artworks in a wide range of media. I am sure visitors will be inspired by this diverse body of work.
Councillor Amy McNeese-Mechan, Edinburgh’s Vice Convener of Culture and Communities said: “We’re all very much looking forward to welcoming visitors back when we reopen this weekend and this is another fantastic exhibition to look forward to.
“Marine promises to be a fascinating exhibition and visitors can also enjoy the accompanying programme of events which includes special tours, family craft sessions and talks by Findlay’s collaborators.”
Marine: Ian Hamilton Finlay 22 May – 3 October 2021 Free admission, pre-booking essential
Edinburgh’s City Art Centre presents Marine, a two-floor exhibition of artworks by Ian Hamilton Finlay (1925-2006).
Finlay was an internationally renowned Scottish artist and Britain’s most significant concrete poet of the 20th century. Opening on 22 May, this major exhibition focuses on the maritime theme in his work. It was a central element of Finlay’s art, and one to which he returned throughout his life.
Drawn from the artist’s estate and the City Art Centre’s collection, and including loans from the National Galleries of Scotland, Marine: Ian Hamilton Finlay showcases artworks from across several decades, ranging from stone, wood and neon sculptures to tapestry.
The show also features prints, postcards and booklets from Finlay’s Wild Hawthorn Press, capturing Finlay’s interest in nautical themes across a variety of media.
On show, alongside Marine: Ian Hamilton Finlay, will be photographs from the series Ian’s Fleet by Robin Gillanders, which the City Art Centre has recently acquired for its collection.
This sequence of seven black and white photographs capture a fleet of wooden model boats made by Finlay, floating on Lochan Eck, the pond at Little Sparta. Little Sparta is the garden at Stonypath, in the Pentland Hills, where Finlay lived and worked for 40 years and is now considered one of Scotland’s greatest 20th century artworks.
The show is accompanied by an exciting events programme and a catalogue with an insightful essay by Stephen Bann, CBE, Emeritus Professor of History of Art, and Senior Research Fellow at Bristol University.
Marine: Ian Hamilton Finlay has been co-curated with Pia Maria Simig, Executor of the Estate of Ian Hamilton Finlay, and is presented as part of the Edinburgh Art Festival 2021 and Scotland’s Year of Coasts and Waters 20/21.
To coincide with the City Art Centre’s exhibition, the Scottish Poetry Library presents a small display of works by Finlay, drawn from its archive. From Sea to City: Ian Hamilton Finlay runs from 25 May to 9 October 2021.
City Art Centre Curator Maeve Toal said: “The marine theme was an early source of inspiration for Finlay and continued to be a recurring influence throughout his life.
“Indeed, boats proved to be an inexhaustible subject. Taking its title from the earliest work in the exhibition, Marine (1968), this show brings together artworks which span Finlay’s entire artistic output, stretching from the 1960s through to the 2000s.”
Councillor Donald Wilson, Edinburgh’s Convener of Culture and Communities said: “We are delighted that the City Art Centre is able to showcase this extensive exhibition of works by Ian Hamilton Finlay.
“Finlay was one of the most versatile artists of his generation. With the assistance of collaborators, Finlay translated his ideas into artworks in a wide range of media. I am sure visitors will be inspired by this diverse body of work.
Councillor Amy McNeese-Mechan, Edinburgh’s Vice Convener of Culture and Communities said: “We’re all very much looking forward to welcoming visitors back when we reopen this weekend and this is another fantastic exhibition to look forward to.
“Marine promises to be a fascinating exhibition and visitors can also enjoy the accompanying programme of events which includes special tours, family craft sessions and talks by Findlay’s collaborators.”
Charles H. Mackie: Colour and Light 15 May 2021 – 10 October 2021 City Art Centre, 2 Market Street, Edinburgh EH1 1DE Free Admission, pre-booking online essential
Edinburgh’s City Art Centre is to re-open its doors to the public on Saturday 15th May 2021 with a full range of safety measures in place to ensure the safety of visitors and staff.
Visitors will be able to enjoy two exhibitions – the brand new retrospective Charles H. Mackie: Colour and Light, and the continuing collection display Bright Shadows: Scottish Art in the 1920s.
This summer, Edinburgh’s City Art Centre presents the first major exhibition in over a century dedicated to the Scottish painter and printmaker Charles Hodge Mackie (1862-1920), one of the most versatile artists of his generation.
Charles H. Mackie: Colour and Light is a major new exhibition that sets out to re-evaluate Mackie’s significance and contribution. A full-scale retrospective, it charts the progress of his career and creative development, from the rural Scottish landscapes of his youth to his spectacular late Venetian scenes.
The exhibition brings together over fifty artworks from public and private collections, including loans from the National Galleries of Scotland, the Royal Scottish Academy of Art & Architecture and Perth Museum & Art Gallery. Showcasing the breadth of Mackie’s creative vision and talents, it is the most comprehensive public display of his work in over a century.
Born in Aldershot and brought up in Edinburgh, Mackie trained at the Trustees Academy School of Art. He remained based in Edinburgh throughout his career, although he travelled often and embraced an international outlook.
As a mature artist, he worked across an impressive range of media, not only producing oil paintings and watercolours, but also murals, woodblock prints, book illustrations and sculpture. His influences were similarly diverse, drawing inspiration from French Symbolism, the Celtic Revival movement and the landscapes of his European travels.
Mackie was well-connected and respected in contemporary artistic circles. He was close friends with E.A. Hornel and other members of the Glasgow Boys, and he met Paul Gauguin, Édouard Vuillard and the Nabis while working in France.
In the 1890s he was commissioned by Patrick Geddes to produce murals for Ramsay Garden in Edinburgh’s Old Town, as well as illustrations for the pioneering journal The Evergreen.
In later years, Mackie spent time in Yorkshire, where he joined local artists groups and provided support and tuition to the young Laura Knight.
He was a founding member and Chairman of the Society of Scottish Artists, and was elected to the Royal Scottish Academy in 1917. He exhibited his work widely, both in Scotland and further afield. However, despite his many achievements, he has always been treated as a peripheral figure in the story of Scottish art.
Councillor Donald Wilson Culture and Communities Convener, said: “We are thrilled to be once again reopening the doors to the City Art Centre next week. The centre for our world class collections and exhibitions, we have certainly missed it!
“As we mark the centenary of Charles Mackie’s death, we are very proud to host this major study of his work in the City Art Centre. Bringing together over 50 artworks it promises to be a significant tribute to one of Edinburgh’s own.
“I’m sure ‘Colour and Light’ will captivate many visitors as well as inspire them through the accompanying programme of events and activities.”
Councillor Amy McNeese-Mechan, Culture and Communities Vice Convener, said: “This fantastic exhibition really shows the breadth of Mackie’s talents, and I think ‘Colour and Light’ are something we could all use right now!
“I’d like to reassure people that we continue to take measures to ensure the safety of visitors and our staff, so please follow the latest guidance and avoid visiting if showing any symptoms of coronavirus. We’re all very much looking forward to welcoming visitors back when we reopen next week.”
Curator Dr Helen Scott said: “This exhibition is the culmination of many years of detective work. We’ve been able to reunite finished paintings with their preparatory studies, giving insights into Mackie’s working methods, and we’ve also been able to explore the ways in which he pursued key themes across different types of media – shifting from oils and watercolours to printmaking and back again.
Highlights of the exhibition include several paintings that have recently undergone conservation treatment, such as Artis Ancilla, a large-scale composition of a nude reclining in the artist’s studio, which is part of the City Art Centre’s own fine art collection.
Also featured on display are a number of artworks from private collections, such as Breton Girl Crocheting, which is one of Mackie’s earliest experiments in the Symbolist style, or Study for Pitreavie Mural, which is a rare surviving watercolour depicting part of an original mural scheme that no longer exists.
Most of these privately-owned artworks have not been seen in public for many years. All in all, the exhibition is a wonderful, unique opportunity to celebrate Mackie’s life, connections and achievements.
Mackie biographer and researcher Pat Clark said: “This exhibition is the first major public retrospective since the artist’s Memorial Exhibition in 1921. Charles H. Mackie RSA RSW was a well-respected artist in his day and well-connected in artistic circles in France and Scotland.
“The works on display trace his development and responses to the places he visited and the people he met. The exhibition will draw together all the stages of Mackie’s life and career, from early Scottish landscapes in Kirkcudbright to the magnificent large-scale oils executed in Venice.
“Colour and Light will be a long-overdue tribute to one of Scotland’s outstanding and unjustly neglected artists. The exhibition will showcase this achievement. It will bring me untold joy to share my passion for Mackie’s art with those who visit the City Art Centre between May and October.”
Charles H. Mackie: Colour and Light is being presented as part of Edinburgh Art Festival 2021, and it is accompanied by a varied programme of public events and activities.
In order to protect and maintain the safety of our visitors and staff, the City Art Centre has introduced a range of new safety measures and procedures throughout the venue, including a one-way system, installation of screens at reception, hand sanitiser stations, extra barriers and signage and staff will of course be wearing face coverings while offering visitors a very warm, socially distanced welcome.
Visitors are asked to wear face coverings and pre-book free tickets for allocated time slots in advance via edinburghmuseums.org.uk
Charles H. Mackie: Colour and Light opens on 15 May 2021 and runs until 10 October 2021. Admission is free.
Visitors to the City Art Centre will also be able to enjoy the free collection display Bright Shadows: Scottish Art in the 1920s. This exhibition explores the work of Scottish artists during the 1920s – an evocative period of social, political and economic change. Bright Shadows opened in September and will run until Sunday 27 June
It has been a year like no other. A year when all our services within the Council like everything else had to adapt quickly and decisively. And for many, it completely changed the way they lived and worked (writes Culture and Communities Convener CLLR DONALD WILSON).
You could pick any area of service but I want to highlight the work of our Museum & Galleries service and how the team went virtual, creating online versions of exhibitions, digital lectures, podcasts and coming up with educational programmes that parents and teachers could use at home.
Before Covid-19 our Museums and Galleries had begun to integrate digital platforms, but we’ve seen this evolution accelerated by the pandemic. It’s been a challenging process but our curators and staff have really risen to that challenge.
Of course, we weren’t completely digital for the year and were able to reopen the City Art Centre from mid- September to just before Christmas, and in that time 4 new exhibitions were installed and proved popular with visitors.
Our museums team have engaged really well with schools, with officers running live, weekly art sessions with primary schools to support at home learning. These art sessions are inspired by paintings from the City Art Centre as well as our Edinburgh museum collections such as the Museum of Childhood and encourage children to discuss artworks and objects and to get creative by taking part at home.
The service also delivered an impressive 74 events digitally that would have been run in one of our venues. A series of digital lectures covering topics from Addressing the Legacy of Slavery and Ghosts of Edinburgh Women Who Chose to Challenge for International Women’s Day were watched by over 6000 people.
They were also able to do digital versions of diverse events such as visually impaired tours, BSL signed tours as well as dance, music and choir streams bringing people together from home.
There are also now three City Art Centre digital exhibitions; The City Art Centre is 40 featuring highlights form the collection; Front of House Staff where members of the team selected their favourites form the collection and Edinburgh: Our City featuring paintings of the Capital.
Our online services have been embraced and this is very encouraging as we plan for our service post-pandemic.
When lockdown is lifted and we have access to the ‘real’ and no longer have to make do with the ‘virtual’, I think there is opportunity for a balance between the two. We certainly can’t wait to welcome visitors back but we’ve seen that our digital space can be special in it’s own right and can reach even wider audiences.
Last month it was announced that Museum & Galleries Edinburgh will receive a total of £55,125 from Museums Galleries Scotland’s COVID-19 Development Fund to help create the service’s first Digital Engagement Strategy – supporting and building on the work done during the pandemic to keep connected with local communities and virtual visitors from across the world.
During lockdown, our digital channels have been the primary way we’ve been able to engage with our audiences. Although forced into this situation by the pandemic, we have seen the many benefits and long-term opportunities for this work and are excited to explore what we can do going forward. This has been down to the hard work and dedication of our wonderful Museums and Galleries staff , of whom we are very proud.
This article first appeared in the Edinburgh Evening News
Edinburgh’s City Art Centre is to re-open its doors to the public on Saturday 12th September 2020 with a full range of new safety measures in place to ensure the safety of visitors and staff.
The gallery reopens with two new exhibitions, City Art Centre at 40: Highlights from the City’s Art Collection marking the City Art Centre’s 40th anniversary and Bright Shadows: Scottish Art in the 1920s.
Having first opened its doors on 15th August 1980, heralded as combining; ‘Scotland’s largest air-conditioned fine art exhibition space, with specialist environmental and security facilities … a must for the display of world masterpieces’ – the City Art Centre celebrated its 40th anniversary last month (15th August).
As the gallery doors reopen and to mark the anniversary, the City Art Centre is mounting a special ‘highlights’ exhibition, City Art Centre at 40: Highlights from the City’s art collection from the City’s collection of Scottish art.
Widely recognized as being one of the finest in the country, the City’s collection numbers over 5,000 artworks ranging from some of the earliest views of Edinburgh to works by many of Scotland’s leading contemporary artists. Visitors will be able to see artworks by major historical figures such as Allan Ramsay, the pioneer photographers Hill and Adamson, and the Scottish Colourists, as well as contemporaries such as John Byrne, Alison Watt and Adrian Wiszniewski.
Bright Shadows: Scottish Art in the 1920s a new exhibition exploring the work of Scottish artists during the 1920s – an evocative period of social, political and economic change also opens on the 12th September as visitors are welcomed back to the gallery as it reopens.
The forthcoming exhibitions mark the public re-opening of the venue on 12th September. In keeping with Government advice in order to protect and maintain the safety of our visitors and staff, the City Art Centre has introduced a range of new safety measures and procedures throughout the venue, including a one way system, installation of screens at reception, hand sanitiser stations, extra barriers and signage and staff will of course be wearing masks while offering visitors a very warm, socially distanced welcome.
Visitors are asked wear face coverings and to pre-book free tickets for allocated time slots in advance via edinburghmuseums.org.uk
City Art Centre at 40
Over the past 40 years the City Art Centre has housed over 500 exhibitions, shown priceless treasures from across the world to priceless paintings made by Edinburgh children and welcomed 100,000’s of visitors through its doors and is now a well-established, respected and cherished Scottish cultural resource.
Other activities marking the 40th anniversary in the coming weeks include; The City Art Centre is 40!, a curated a digital exhibition of much-loved and favourite paintings chosen by past members of staff, artists and people closely involved with the City Art Centre over the years presented via Art UK’s ‘Curations’ series.
Tessa Asquith-Lamb, one our best-loved local artists, has created two special videos with the City Art Centre’s Public Programmes section to celebrate the milestone, featuring the artist’s favourite painting, ‘Tristan and Isolde’ by John Duncan. Asquith-Lamb tells us why Tristan and Isolde is so special, and demonstrates a special art activity everyone can do at home while we are not able to visit the gallery in person.
Having moved from its original home at The Royal High School on Regent Road to make way for the intended Scottish Assembly following Scottish Devolution, the City Art Centre found a new home in a purposefully refurbished five storey warehouse dating back to 1899 on Market Street, which was designed as an extension to The Scotsman building on North Bridge, having once housed the city’s fruit markets.
The building was selected not only because of its architectural significance but also for its wrought iron framed structure which made it suitable to carrying the heavy floor loads required to house large volumes of visitors.
As part of the significant renovation project, the building’s original stonework and metal frame windows were preserved, while the interior was repurposed to create four new gallery spaces, artist studios and a licenced café, designed to reflect the building’s late Victorian origins alongside minimal natural décor, complimented by a state of the art lighting system to protect the delicate works on show.
The City Art Centre was designed to be ‘more than just a gallery’, providing studio and meeting spaces for artists, ‘craftsmen’ and for the people of Edinburgh.
The City Art Centre first opened its doors on 15th August 1980 with two major exhibitions as part of the Edinburgh International Festival – The Legacy presenting historic and contemporary Canadian/Indian art from the Provincial Museum in British Columbia and an exhibition by the Prescote Gallery near Oxford, showing outstanding examples of British Craft.
Robert Blomfield: Edinburgh Street Photography An Unseen Archive Pictured Robert Blomfield, Girl on a Swing,Edinburgh, Black and White Photograph,1966.
Since that day, the City Art Centre has housed many hundreds of exhibitions and has continued to work with the city’s festivals; including The Edinburgh Festival Fringe, International Festival, Edinburgh Art Festival, The Edinburgh Jazz and Blues Festival and Edinburgh Science Festival.
From blockbuster exhibitions in the 1980’s and 1990’s which many residents in the city will remember, including The Emperor’s Warriors (1985), Thunderbirds are Go! (1986), Gold of the Pharaohs (1988), Dinosaurs Alive! (1990) and Star Trek: The Exhibition (1995), to hugely significant international art shows including; Abstract Expressionist Paintings from MOMA New York (1981), Michelangelo Drawings (1994) and Alphonse Mucha (2000) as well as a huge array of solo shows from Scottish artists and craft makers, such as James Cowie (1981), Charles Rennie Mackintosh (1987), Peter Howson (2007) and Victoria Crowe (2019).
From 1985 onwards, the City Art Centre’s programming expanded to reflect many new threads and artistic disciplines, ranging from photography; Cecil Beaton (2004) Ansel Adams; Snowdon; Albert Watson (2006) and Coming into Fashion (2013) alongside major survey and group shows championing Scottish art and craft; Hand, Heart and Soul (2007), Window to the West: The Rediscovery of Highland Art (2011) and A-Z: An alphabetical Tour of Scottish Art (2014).
As the City Art Centre’s exhibition programme and audiences grew, remaining rooted in the city and its people was key, with exhibitions and works often reflecting Edinburgh’s history as well as local and global social issues such as; Anne Frank in the World (1987), Chernobyl – The Legacy (1993), Rainbow City (2006), Leith – The Turning Tide (1987), Edinburgh Re-discovered: Thomas Begbie (1990) and Robert Blomfield (2018).
The City Art Centre’s now well-established reputation as a key cultural Scottish institution is evidenced in its 40-year exhibitions history and audience loyalty. As well as an ambitious and ever-changing exhibitions programme, an additional vital aspect of the City Art Centre is its role in housing the City’s Collection of Scottish Art – one of the finest in Scotland.
The collection, which supported through donations, bequests and gifts as well as purchases, features works from many of ‘The Glasgow Boys’ as well as the Scottish Colourists – John Duncan Fergusson, Samuel Peploe, Francis Cadell and Leslie Hunter.
Some of the best-known artists of the Edinburgh School, including William Gillies, John Maxwell and Anne Redpath, all have several works in the collection, and featured post-war artists include Alan Davie, Eduardo Paolozzi, Elizabeth Blackadder and John Bellany. The contemporary collection includes artists such as Christine Borland, Callum Innes, Rosalind Nashashibi and Toby Paterson.
When the City Art Centre reopens and looks forward to the next 40 years, the continued focus will be to champion historic and contemporary Scottish visual art and craft.
The City’s art collection continues to grow, and going forward the curatorial team will actively seek to diversify the collection in the coming years to better reflect the range of artists and work being produced in Scotland today. Visitors will be able to see the fruit of this with a new exhibition of recent acquisitions next year.
David Patterson, Curatorial and Conservation Manager, City Art Centre said;“Since we opened in 1980, staff at the gallery have worked with artists who live in some of the most densely populated cities on the planet as well as others who live in some of the remotest places on earth.
“We’ve tackled global tragedies and local issues, and shown paintings, drawings, watercolours, sculpture, tapestry, photography, silver, glass, interior design, film and installations among many other media. We’ve displayed works made from ice, oil, wood, metal, matchsticks, coat hangers, parachute fabric, nylon, gold, even old welly boots!
“We are thrilled to be reopening on the 12th September, and fittingly with two exhibitions drawn from our Scottish art collection. In the months and years to come, we’ll continue to shine the spotlight on Scottish artists of the past who have been overlooked in the story of Scottish art as well as curate major displays by some of the country’s leading artists past and present.
“The topography and people of Edinburgh will remain a consistent strand in our programming, as will the display of the finest contemporary and historic applied art and craft. We’ll continue to work with our partners Edinburgh Science Festival to bring some of the best Science and Art to a family audience, and our wonderful collection will continue to be shown throughout the year in a series of temporary exhibitions.”
Herbert Coutts, City Art Centre Curator (1971-1999) said:“Having been in at the birth of the City Art Centre, I am immensely proud of the myriad exhibitions it has sourced from all parts of the globe, and from its own important fine art collection.
“This remarkable achievement has been due to the creativity, commitment and hard work of its staff, past and present, which I hope will continue long into the future.”
**Pics free to use**
Pictured Curator Dr Helen Scott
New exhibition places Edinburgh-born female artist back in the spotlight over 150 years after her birth
Mary Cameron: Life in Paint
Saturday 2 November 2019 – Sunday 15 March 2020
City Art Centre, 2 Market Street, Edinburgh EH1 1DE
Free admission
Images available to download here
Opening this Saturday (2nd November) Edinburgh’s City Art Centre brings the Edinburgh-born artist Mary Cameron (1865-1921) back into the spotlight, displaying over forty rarely-seen artworks from public and private collections.
Mary Cameron: Life in Paint explores the life and career of a woman who was truly ahead of her time, charting her creative journey from elegant family portraits to breath-taking Spanish scenes.
Born in Portobello, Edinburgh, Cameron began her artistic career as a portraitist and genre painter in her native city, before venturing abroad to study in Paris. Foreign travel proved to be a life-long source of inspiration. In 1900 she visited Madrid for the first time, where she became captivated by the Spanish culture, people and scenery. Establishing studios in Madrid and Seville, she painted large-scale compositions of traditional peasant life, dramatic bullfights and rural landscapes.
A thoroughly modern and adventurous woman, Cameron exhibited widely during her lifetime, with her talents being admired by contemporaries such as John Lavery and Alexander Roche. However, like so many female artists of her generation, her name is little-known today. This exhibition aims to change that, with examples of her impressive work complemented by historic photographs and archival material.
The display is the first dedicated exhibition of Cameron’s paintings since her death in 1921. It is accompanied by the forthcoming illustrated catalogue Mary Cameron: Life in Paint, written by Helen E. Scott and published by Sansom & Co.
Councillor Donald Wilson, Edinburgh’s Convener of Culture and Communities said: “I’m delighted that the City Art Centre is able to showcase this fantastic exhibition of the rarely seen works of Mary Cameron. It’s incredible to think this is the first exhibition dedicated to her since her passing in 1921. Life in Paint will take visitors through her creative journey from starting out in Portobello to international travel. Not only will it be an opportunity to celebrate her work, it is also a chance for people to learn about the artist herself and the important role she played in Scottish artworld history and the positive strides she made for women.”
Curator Dr Helen Scott said: “This is a really exciting opportunity to showcase a female Scottish artist whose work will be new to most people. During Mary Cameron’s lifetime she was fairly well-known. She won prizes for her work, staged prestigious solo exhibitions in Edinburgh, London and Paris, and was well-respected by other artists, including prominent members of the Glasgow Boys. Today, however, her name is scarcely recognised, let alone celebrated.
Most of Cameron’s surviving paintings are held in private collections, so there have been very few chances for audiences to view them since her death in 1921. In fact, many of the artworks that feature in the exhibition have not been seen in public for over a century – so it should be a real eye-opener.
As a female painter practicing in the late 19th and early 20th centuries, Cameron faced many obstacles in pursuing her ambition to become a professional artist. Women of her generation had far fewer training opportunities than their male peers, and they often encountered discrimination when exhibiting, selling and promoting their art. They had to work doubly hard to succeed as artists and gain recognition. Even when they managed to establish themselves, their posthumous legacies were often eclipsed by the reputations of their more famous male counterparts. Over the years, many of these women have slipped into obscurity and been virtually forgotten.
Now, however, the situation is beginning to change, with increasing numbers of historic female artists being brought to public attention. And there’s a very real, growing appetite among audiences to find out more about these pioneering women. Mary Cameron was one of those who helped to lay the foundations for greater gender equality in the Scottish art world, and I think it’s so important that we celebrate her contribution.”
ENDS
For more information, image and interview requests please contact Kate Bouchier-Hayes – kate@thecornershoppr.com / 07825 335 489
Images can be downloaded here
Venue Details:
Address: City Art Centre, 2 Market Street, Edinburgh EH1 1DE
Telephone: 0131 529 3993
Website: edinburghmuseums.org.uk
Twitter: @EdinCulture
Facebook: Facebook.com/City.Art.Centre.CAC
Instagram: instagram.com/museumsgalleriesedinburgh
Opening hours: Monday to Sunday 10am – 5pm
NOTES TO EDITORS
City Art Centre
The City Art Centre is one of Edinburgh’s main public art galleries. It is owned and managed by the City of Edinburgh Council. It is home to the City’s collection of historic and contemporary Scottish art, one of the best in the country. The gallery hosts a vibrant programme of exhibitions from its collection and by contemporary local, national and international artists and makers.
Ian O’Riordan, City Art Centre Curator (1984-2015) said;“I can’t be dispassionate about the City Art Centre. I started working there on Monday 5th November 1984, my 31st birthday, and stayed for 30 years!
“We put on the most fantastic exhibitions and built up the most brilliant collection of Scottish art. In retrospect, it all feels truly amazing – what we managed to do and how hard we all worked. People came and loved it and kept coming back. It remains a fabulous place, still with loads of potential. In these challenging times, Edinburgh is truly lucky to have it. Here’s to the next 40 years!”
Councillor Donald Wilson, Culture and Communities Convener said: “Over the last 40 years our City Art Centre has hosted more than 500 exhibitions, housed works from across the globe and welcomed hundreds of thousands of visitors.
“As we celebrate this milestone it’s a great opportunity to look back at our favourites over the years as well as look ahead to reopening our doors on September 12th.
“Our collection of Scottish art is one of the finest in the country and this special ‘highlights’ exhibition is a fantastic way to celebrate the past 40 years as well as welcome our community back. We wanted to mark this significant anniversary of a very special place and celebrate the city’s artistic collections in a safe way when we open our doors and gather together again.
“When it opened in 1980 the City Art Centre was designed to be more than a gallery, providing studio and meeting spaces for artists, craftspeople and art lovers. I’m very much looking forward to the exhibition and to welcoming visitors back when we reopen next week.”
City Art Centre at 40: Highlights from the City’s art collection runs from 12th September – 18th October 2020.
Bright Shadows: Scottish Art in the 1920s runs from 12th September – 6th June 2021.
This May, Edinburgh’s City Art Centre presents the first major exhibition in nearly a century dedicated to the Scottish painter and print maker Charles Hodge Mackie (1862-1920), one of the most versatile artists of his generation.
Charles H. Mackie: Colour and Light is a major new exhibition that sets out to re-evaluate Mackie’s significance and contribution. Timed to coincide with the centenary of the artist’s death, it charts the progress of his career and creative development, from the rural Scottish landscapes of his youth to his spectacular late Venetian scenes.
The retrospective brings together over fifty artworks from public and private collections, including loans from the National Galleries of Scotland, the Royal Scottish Academy of Art & Architecture and Perth Museum & Art Gallery.
Showcasing the breadth of Mackie’s creative vision and talents, it is the most comprehensive public display of his work in almost a century.
DCF 1.0
Born in Aldershot and brought up in Edinburgh, Mackie (above) trained at the Trustees Academy School of Art. He remained based in Edinburgh throughout his career, although he travelled often and embraced an international outlook.
As a mature artist, he worked across an impressive range of media, not only producing oil paintings and watercolours, but also murals, woodblock prints, book illustrations and sculpture.
His influences were similarly diverse, drawing inspiration from French Symbolism, the Celtic Revival movement and the landscapes of his European travels.
Mackie was well-connected and respected in contemporary artistic circles. He was close friends with E.A. Hornel and other members of the Glasgow Boys, and he met Paul Gauguin, Édouard Vuillard and the Nabis while working in France.
In the 1890s he was commissioned by Patrick Geddes to produce murals for Ramsay Garden in Edinburgh’s Old Town, as well as illustrations for the pioneering journal TheEvergreen. In later years, Mackie spent time in Yorkshire, where he joined local artists groups and provided support and tuition to the young Laura Knight.
He was a founding member and Chairman of the Society of Scottish Artists, and was elected to the Royal Scottish Academy in 1917. He exhibited his work widely, both in Scotland and further afield. However, despite his many achievements, he has always been treated as a peripheral figure in the story of Scottish art.
Curator Dr Helen Scott said:“This exhibition is the culmination of many years of detective work.
“We’ve been able to reunite finished paintings with their preparatory studies, giving insights into Mackie’s working methods, and we’ve also been able to explore the ways in which he pursued key themes across different types of media – shifting from oils and watercolours to printmaking and back again.
“Highlights of the exhibition include several paintings that have recently undergone conservation treatment, such as Artis Ancilla, a large-scale composition of a nude reclining in the artist’s studio, which is part of the City Art Centre’s own fine art collection.
“Also featured on display is Deux Ouvrieres dans l’Atelier de Couture (Two Seamstresses in the Workroom) by Édouard Vuillard, a small oil painting gifted to Mackie by Vuillard, which is now owned by the National Galleries of Scotland. All in all, the exhibition is a wonderful, rare opportunity to celebrate Mackie’s life, connections and achievements.”
Mackie biographer and researcher Pat Clark said:“This exhibition is the first major public retrospective since the artist’s Memorial Exhibition in 1921.
“Charles H. Mackie RSA RSW was a well-respected artist in his day and well-connected in artistic circles in France and Scotland. The works on display trace his development and responses to the places he visited and the people he met.
“The exhibition will draw together all the stages of Mackie’s life and career, from early Scottish landscapes in Kirkcudbright to the magnificent large-scale oils executed in Venice. Colour and Light will be a long-overdue tribute to one of Scotland’s outstanding and unjustly neglected artists. The exhibition will showcase this achievement. It will bring me untold joy to share my passion for Mackie’s art with those who visit the City Art Centre between May and October.”
Councillor Donald Wilson, Edinburgh’s Convener of Culture and Communities said: “As we mark the centenary of Charles Mackie’s death, we are very proud to host this major study of his work in the City Art Centre.
“Bringing together over 50 artworks it promises to be a significant tribute to one of Edinburgh’s own. I’m sure ‘Colour and Light’ will captivate many visitors as well as inspire them through the accompanying programme of events and activities.”
Charles H. Mackie: Colour and Lightopens on 16 May 2020 and runs until 11 October 2020. Admission is free.
The exhibition is being presented as part of Edinburgh Art Festival 2020, and it is accompanied by a varied programme of public events and activities.
The ‘Classical Edinburgh’ exhibition (above) opens today at the City Art Centre.
Classical Edinburgh explores and examines the changes that have taken place in half a century of development which has seen the neo-classical New Town transform from an area of refined respectability to an integral part of a bustling cosmopolitan city.
Using Edwin Smith’s black and white images published in ‘The Making of Classical Edinburgh’ (1966) as a starting point, Colin McLean embarked on re-shooting and re-interpreting these seminal images.
As part of this fine exhibition you can also see a gallery of local photographer’s photos – the result of a recent public competition sponsored by Jessops.
There are eighteen fantastic photographs to view, including one by West Pilton’s Anne Conrad. Anne’s photograph, ‘India Street Short Cut!’ is below.
The exhibition is well worth a visit. It runs until 8 March … and it’s free!
Principal winner, Don Munro, The Scottish National Gallery at Night.
RUNNER UP
CATEGORY: WORKING LIFE
Title: Pumpkin spice and everything nice rush once upon a time in Edinburgh
Location: Princes Street
Category: Working Life
Photographer: Louise Liga Bite
Last weekend marked the closing days of what has been the most popular exhibition at Edinburgh’s City Art Centre in recent years. Victoria Crowe – 50 Years in Painting, closed on Sunday having welcomed over 40,000 visitors, from Edinburgh, UK and further afield, young and old, life long admires of Crowe’s work and those who discovered it for the first time, to celebrate the life’s work of one of the UK’s finest artists.Continue reading Victoria Crowe exhibition attracts over 40,000 visitors
Over the course of this year, Citizen Curator has been investigating the history of gala days, with a focus on the heritage of the Leith Gala. The research, oral history and photographs gathered as part of the project have now been brought together for an exhibition at the People’s Story Museum, Edinburgh.
