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.
Step inside the mind and brush strokes of much-loved Scottish artist Joan Eardley with a fresh insight into her powerful and expressive paintings in a new, free, two-room exhibition at the National Galleries of Scotland.
Taking over the ground floor of National Galleries Scotland: Modern Two from April Joan Eardley: The Nature of Painting will explore the artist’s vibrant artworks from a whole new perspective. Consisting solely of works from Scotland’s national collection, this exhibition will bring together over 30 of Joan Eardley’s artwworks, alongside some of the most notable names in the art world including Claude Monet, John Constable, Bet Low, William McTaggart, Jean Dubuffet and Antoni Tàpies. It will offer a unique opportunity to look at how the beloved Scottish artist engaged with the world and artists around her.
Joan Eardley: The Nature of Painting will feature 14 of Eardley’s oil paintings from the Scottish national collection alongside a selection of her works on paper and archival materials. Immerse yourself in Eardley’s iconic views of coastal village Catterline, discover never-before-seen objects from her studio in Glasgow and come face to face with the Glaswegian children who inspired many of her works.
The Nature of Painting follows previous National Galleries of Scotland exhibitions dedicated to Eardly’s artwork including Joan Eardley: A Sense of Place at Modern Two in 2017 and Joan Eardley & Catterline at Modern One in 2022.
This new exhibition for 2026 will present a fresh perspective on her artistic practice, inviting visitors to view her paintings amidst a variety of artists and movements, while exploring the possibilities of influence and interest.
Key works on display in Joan Eardley: The Nature of Painting will include the glimmering Summer Fields (about 1961) in which a bright golden cornfield dominates a grey Catterline sky.
This painting comes to life in more ways than one, through both Eardley’s expressive brushstrokes and the inclusion of real blades of grass and wheat from the environment around her, giving insight into her artistic methods.
Several other scenes of Catterline will also be displayed including the atmospheric Catterline in Winter (1963) and Hedgerow with Grasses and Flowers (1962-1963), inspired by the wildflower fields behind Eardley’s cottage.
Visitors will also meet sisters Anne and Pat Samson, immortalised in childhood through Children and Chalked Wall 3 (1962-1963). In this portrait, Eardley’s signature bold style captures the essence of Anne and Pat’s endearing smiles, as they huddle together in a moment of sisterly affection.
The girls are surrounded by a collage of newspapers and painted graffiti, as well as silver and gold papers, presumed to be sweet wrappers. This portrait, displayed in the exhibition along with others including Street Kids (1949-1951), tells the stories of real Glasgow children who lived close to Eardley’s studio, and captures their friendliness and community spirit which Eardley admired.
Born in West Sussex in 1921, Eardley moved to Glasgow with her family during the outbreak of the Second World War in 1939. She studied at Glasgow School of Art and Hospitalfield House where she was taught by Scottish artists including Hugh Adam Crawford and James Cowie. It was during this time that she began to shape her preference for painting everyday subjects. Eardley rented a studio in the centre of Glasgow in 1948, and a few years later moved to Townhead, where the local children became her artistic subjects.
In 1954, she bought a cottage in the small fishing village of Catterline, south of Aberdeen. Catterline’s coastal charm and dramatic seascapes formed the subject of many of Eardley’s paintings, providing the perfect setting for her expressive artwork to flourish. After her untimely passing from cancer in 1963, Eardley’s ashes were scattered on the beach at Catterline, creating a lasting bond between the artist and the place which inspired her.
A range of archival and photographic materials from the Scottish national collection will also be displayed in Modern Two’s Keiller Library.
Donated to the National Galleries of Scotland in 1987 by Eardley’s sister Patricia, the artist’s archive contains a range of interviews, photographs and personal contents from her studio. This display will give a glimpse into the artist’s world, painting a picture of the woman behind the artwork, as well as giving context to what she admired most in the work of others.
For the very first time, visitor favourite from the Scottish national collection Grainstacks: Snow Effect (1891) by Claude Monet will go on display amongst Eardley’s artwork. A key founder of the Impressionist movement, Monet was known for finding his source of inspiration in the outdoors, bringing nature to life through abstract brushstrokes and textures, much like Eardley’s paintings of the Catterline landscape.
The gentle gold light across frosty stacks of grain and bold use of paint echoes elements Eardley used in Summer Fields. Bringing these artworks together especially for this exhibition highlights artistic similarities spanning generations, whether intentional or not.
Kerry Gledhill, Senior Librarian and Lead Curator of Joan Eardley: The Nature of Painting at the National Galleries of Scotlandsaid: “Joan Eardley was an artist so completely driven to paint the truth of what she saw around her that she pushed her medium to its very limits.
“She was drawn to subjects which tap into a common humanity, a connection to nature or a sense of community and kinship. Like all great artists, her paintings speak to us across the intervening decades.
“The opportunity to show Eardley’s work alongside that of Constable, Monet and Tàpies, to name just a few, gives us a unique insight into the nature of painting, experimentation and creativity.”
Joan Eardley: The Nature of Painting is a free National Galleries of Scotland exhibition opening in the lower galleries of Modern Two on Thursday 2 April 2026.
The National Galleries of Scotland’s unmissable summer exhibition, Resistance, opens this weekend, Saturday 21 June.
Conceived by acclaimed artist and filmmaker Steve McQueen the exhibition takes over the whole of Modern Two. Explore how acts of resistance have shaped life in the UK, and the powerful role of photography in documenting and driving change. Tickets are on sale now.
Plus, on the first Monday of every month during the exhibition, visitors will be able to pay what they wish, starting from just £2.
Presenting around 200 photographs from a century of activism, Resistance gives a voice to the stories and images from history which have been buried in UK archives until now.
Throughout the exhibition McQueen amplifies underrepresented voices to present a compelling exploration of overlooked histories, shedding light on the forgotten stories that have helped define the course of Britain’s history.
Resistance tours to Modern Two from Turner Contemporary, Margate.
This exhibition will bring together works by renowned photographers such as Vanley Burke, John Deakin, Fay Godwin, Edith Tudor-Hart, David Hurn, Tish Murtha, Humphrey Spender, and Paul Trevor, alongside lesser-known photographers who documented these powerful stories.
Drawing photographs from various archives, collections and image libraries, McQueen has deliberately focused on moments captured before digital cameras became commonplace.
Spanning both floors of Modern Two, Resistance spans from the radical suffrage movement in 1903 to the largest-ever protest in Britain’s history—the Anti-Iraq War Protest in 2003.
The exhibition will also highlight lesser-known events including the hunger marches of the 1930s where thousands of protesters from Scotland and across Britain marched to London, protesting unemployment and poverty. As well as the Blind March of 1920, a pivotal moment in the fight for disability rights.
Visitors will encounter poignant images from demonstrations against environmental destruction, anti-nuclear campaigns and actions advocating for peace.
The exhibition will trace the evolution of environmental movements and highlight a shift from single-issue demonstrations to broader anti-capitalist efforts that paved the way for today’s climate change action.
Including powerful photographs from the 1000-mile march from Faslane Naval Base to Greenham Common in protest against American nuclear weapons being stationed in the UK in 1983.
From Janine Wiedel’s photographs capturing life at Greenham Common Women’s Peace Camp to Andrew Testa’s striking depictions of the 1996 protests against the proposed Newbury Bypass in Berkshire, England, Resistance will serve as a testament to the empowering impact of collective action.
It will explore the intersections between movements such as the Gay Liberation Front and the Women’s Liberation Movement, where protests against Section 28 of the Local Government Act brought the LGBTQ+ community together. Connecting historic struggles, the exhibition will also examine the fight against fascism in the 1930s and 1940s.
The exhibition will underscore the ongoing struggle against racism, showing how grassroots movements have consistently confronted oppression throughout history.
A pivotal moment was the Black People’s Day of Action on 2 March 1981, following the house fire at 439 New Cross Road in South East London, that claimed 13 lives.
The photographs that captured the protest powerfully depict this landmark for Britain’s civil rights movement.
Paul Trevor’s series on the Bengali community will further illustrate how the emerging concept of community photography became a form of activism, amplifying the voices of marginalised groups.
Steve McQueen said: “Within the 5 years of developing the exhibition and book with the Turner Contemporary team, it has been an ambition for Resistance to travel to Scotland to be shared with audiences there.
“Resistance explores how people have challenged the status quo—a mission that feels especially urgent in today’s political climate.”
Leila Riszko, Assistant Curator of Modern and Contemporary Art at National Galleries of Scotland said: “We’re enormously proud to platform this compelling selection of works curated by Steve McQueen.
“This is an exciting opportunity to explore the power of photography in documenting the significant yet underrepresented stories of people who’ve helped shape the world we live in today.
“In these divisive times, many of the themes, moments and narratives highlighted in the exhibition continue to have resonance now.
“As a show about resilience, collective power, galvanising for positive change, and inspiring reaction, we hope that Resistance will stimulate discussion with our visitors and invite deeper reflection on those contemporary issues.”
Resistance is curated by Steve McQueen and Clarrie Wallis, with Emma Lewis. Political research is by Sarah Harrison. The exhibition is produced by Tessa Pierce, with assistance from Brittany Crombie. Organised by and originated at Turner Contemporary, Margate, and adapted for presentation at National Galleries Scotland: Modern Two.
A major new publication by Steve McQueen was also recently released to coincide with the exhibition. The book was compiled by Steve McQueen and edited by Clarrie Wallis and Sarah Harrison. It is published by Monument Books, a new imprint from Harper Collins.
extended opening of five-star exhibition, Everlyn Nicodemus
There is something for everyone to discover at the National Galleries of Scotland over the upcoming Easter and May bank holidays.
Visitors will have the chance to enjoy a programme of family events and experience Everlyn Nicodemus on Monday 26 May, with an extra day added to allow bank holiday revellers to enjoy the exhibition.
Spanning the gallery’s entire ground floor of Modern One, Everlyn Nicodemus is open now and free for everyone to visit. Experience Everlyn’s colourful, defiant and searingly honest artworks, with over 80 drawings, collages, paintings and textiles from over 40 years of her career, from 1980 through to the present day.
Families can also get involved with some joyful Easter artmaking inspired by Everlyn Nicodemus. Over the Easter holidays, from Monday 14 to Friday 18 April 2025 between 2–4pm, families can drop into Art Space 1 at Modern One to play with patterns, create shapes, mix colours and more.
Or for those looking for autism-friendly activities this Easter, a drop in event will be held on Tuesday 15 April 2025, 10.30am–12pm. Meet other families, explore the galleries and take part in creative activities with an experienced team of artists.
Autism-friendly sessions at the National Galleries of Scotland are for children and young people on the autism spectrum – with their families – who may benefit from smaller group sizes and tailored activities to suit individual needs.
For those looking to dive deeper into the world of Everlyn Nicodemus, join the panel discussion on Friday 23 May, 3-4pm for free at the National or via the YouTube livestream.
To mark the end of her first ever retrospective, Everlyn Nicodemus will be in conversation with writer JJ Fadaka and artist and curator Khadea Santi. Together they will chat about the lasting legacy of Everlyn’s amazing exhibition. Plus, livestream ticketholders can watch back anytime.
There is even more to discover when visiting the Moderns, with a completely free offering across two galleries and two sculpture parks. Weave your way through two exciting buildings featuring leading artists’ works which define the Modern era.
At Modern One, delve into displays, shows and installations from the leading artists of today, both inside and outdoors. As well as Everlyn Nicodemus, discover a celebratory display to mark Bruce McLean’s 80th birthday. Bruce McLean: I Want My Crown traces the Glasgow-born artist’s humorous, provocative and engaging six-decade long inquiry into sculpture.
Through works made across a range of media including photography, performance, painting, printmaking, film, and ceramics, this one-room display invites you to challenge your thinking about sculpture and expand your ideas of what art can be.
Get ready for captivating, light-hearted and all-encompassing experiences at Modern One. On arrival you will be in awe of the striking land feature Landform in front of the gallery, designed by landscape architect Charles Jencks. Explore the grounds and discover further sculptural works by other major artists including Pablo Picasso, Barbara Hepworth, Jackson Pollock and Tracey Emin.
Once you’ve explored Modern One why not head across the road to Modern Two to further explore the grounds. Plus, you can celebrate the centenary of the remarkable Scottish artist Ian Hamilton Finlay (1925-2006) taking over the ground floor of Modern Two.
Or why not head to one of the National Galleries of Scotland’s other sites. At the National, drop into the Family Art Hub, open until 20 April. Designed to help you and your family explore the Scottish galleries together.
The space offers a place to create and share your art, read the books on offer and play. You can watch short films about different art techniques or listen to what children and artists think about art and what it is for. Spark your senses and make shadows and shapes in the play area.
At the Portrait visit Connections,a relaxed space for visitors to draw, read and chat about some of the ways in which we make connections through art. Bringing together communities, partner organisations, and artists, the displays highlight how we use art to find shared interests, discover social histories, explore issues and identities, and create new objects to tell new stories.
Current displays include portraits of Govanhill, a project exploring different issues that impact young people across Scotland today. Using photography as a creative tool, the voices and views of young people from Big Noise Govanhill are represented.
National Galleries of Scotland announces the unmissable summer 2025 exhibition Resistance, conceived by acclaimed artist and filmmaker Steve McQueen.Taking over the whole of Modern Two from 21 June 2025, the exhibition will explore how acts of resistance have shaped life in the UK, and the powerful role of photography in documenting and driving change. Tickets are on sale now.
Presenting around 200 photographs from a century of activism, Resistance gives a voice to the stories and images from history which have been buried in UK archives until now.
Throughout the exhibition McQueen amplifies underrepresented voices to present a compelling exploration of overlooked histories, shedding light on the forgotten stories that have helped define the course of Britain’s history. Resistance tours to Modern Two from Turner Contemporary, Margate.
This exhibition will bring together works by renowned photographers such as Vanley Burke, John Deakin, Fay Godwin, Edith Tudor-Hart, David Hurn, Tish Murtha, Humphrey Spender, and Paul Trevor, alongside lesser-known photographers who documented these powerful stories.
Drawing photographs from various archives, collections and image libraries, McQueen has deliberately focused on moments captured before digital cameras became commonplace.
Spanning both floors of Modern Two, Resistance spans from the radical suffrage movement in 1903 to the largest-ever protest in Britain’s history—the Anti-Iraq War Protest in 2003.
The exhibition will also highlight lesser-known events including the hunger marches of the 1930s where thousands of protesters from Scotland and across Britain marched to London, protesting unemployment and poverty. As well as the Blind March of 1920, a pivotal moment in the fight for disability rights.
Visitors will encounter poignant images from demonstrations against environmental destruction, anti-nuclear campaigns and actions advocating for peace.
The exhibition will trace the evolution of environmental movements and highlight a shift from single-issue demonstrations to broader anti-capitalist efforts that paved the way for today’s climate change action.
Including powerful photographs from the 1000-mile march from Faslane Naval Base to Greenham Common in protest against American nuclear weapons being stationed in the UK in 1983.
From Janine Wiedel’s photographs capturing life at Greenham Common Women’s Peace Camp to Andrew Testa’s striking depictions of the 1996 protests against the proposed Newbury Bypass in Berkshire, England, Resistance will serve as a testament to the empowering impact of collective action.
It will explore the intersections between movements such as the Gay Liberation Front and the Women’s Liberation Movement, where protests against Section 28 of the Local Government Act brought the LGBTQ+ community together. Connectinghistoric struggles, the exhibition will also examine the fight against fascism in the 1930s and 1940s.
The exhibition will underscore the ongoing struggle against racism, showing how grassroots movements have consistently confronted oppression throughout history. A pivotal moment was the Black People’s Day of Action on 2 March 1981, following the house fire at 439 New Cross Road in South East London, that claimed 13 lives.
The photographs that captured the protest powerfully depict this landmark for Britain’s civil rights movement. Paul Trevor’s series on the Bengali community will further illustrate how the emerging concept of community photography became a form of activism, amplifying the voices of marginalised groups.
Steve McQueen said: “Within the 5 years of developing the exhibition and book with the Turner Contemporary team, it has been an ambition for Resistance to travel to Scotland to be shared with audiences there.
“Resistance explores how people have challenged the status quo—a mission that feels especially urgent in today’s political climate.”
Leila Riszko, Assistant Curator of Modern and Contemporary Art at National Galleries of Scotland said: “We’re enormously proud to platform this compelling selection of works curated by Steve McQueen.
“This is an exciting opportunity to explore the power of photography in documenting the significant yet underrepresented stories of people who’ve helped shape the world we live in today.
“In these divisive times, many of the themes, moments and narratives highlighted in the exhibition continue to have resonance now.
“As a show about resilience, collective power, galvanising for positive change, and inspiring reaction, we hope that Resistance will stimulate discussion with our visitors and invite deeper reflection on those contemporary issues.”
Resistance is curated by Steve McQueen and Clarrie Wallis, with Emma Lewis. Political research is by Sarah Harrison.
The exhibition is produced by Tessa Pierce, with assistance from Brittany Crombie. Organised by and originated at Turner Contemporary, Margate, and adapted for presentation at National Galleries Scotland: Modern Two.
A major new publication by Steve McQueen was also recently released to coincide with the exhibition. The book was compiled by Steve McQueen and edited by Clarrie Wallis and Sarah Harrison.
It is published by Monument Books, a new imprint from Harper Collins.
The centenary of the remarkable Scottish artist Ian Hamilton Finlay (1925-2006) will be marked in a new free display of his work on the ground floor of Modern Two in Edinburgh from 8 March to 26 May 2025.
This exhibition will showcase key highlights from Ian Hamilton Finlay’s artistic career, starting in the early 1960s until his death in 2006. Hailed as a unique combination of poet, sculptor, printmaker, gardener and provocateur, Finlay’s practice covered a wide range of media which will be reflected in this display of sculptures and prints as well as never-before-seen archival materials and a room-sized installation, all from Scotland’s national collection.
From the Classical world to the French Revolution, the Enlightenment to World War Two, Finlay, a self-proclaimed ‘anti-modernist’, often looked to history for inspiration. Recurring motifs including boats, tanks, wallflowers and ships can be spotted throughout the range of artwork that will be on display. Although simple by design, they often draw on more complex references to history, literature and art – with subtle humorous nods.
Born in the Bahamas in 1925 to Scottish parents, Finlay moved to Scotland in his early childhood, taking up a brief stint at Glasgow School of Art and eventually settling in Edinburgh in the late 1950s. His love of the written word influenced the start of his career as a playwright and poet. He became a key figure in the concrete poetry movement – a type of visual poetry where words are arranged to create patterns and images on the page.
Visitors will see early examples of Finlay’s concrete poetry, including the screenprint Star/Steer (1966), which tells the visual tale of a ship navigating stormy seas under the silvery light of the stars, presented through cascading words.
The artist’s first steps into the world of sculpture will also be explored through his days as a hobbyist toy-maker in 1960s Edinburgh. The exhibition will feature the wooden Toy Cow (1962-63), one of the earliest examples of Finlay’s sculptural work, alongside photographs of the artist amongst his toy creations.
A visionary artist, Finlay harnessed the power of collaboration throughout much of his work, drawing on the expertise of fellow makers and creators to bring his artistic visions to life. From stone-carvers to typographers, ceramicists to calligraphers, he employed a wide range of specialist technicians to realise his work.
In 1966, Finlay and his wife Sue moved into a semi-derelict farmland called Stonypath, south-west of Edinburgh, sheltered within the Pentland Hills. Here, he would go on to create what is often considered his greatest work: an ambitious, expansive garden filled with sculptures.
Renamed ‘Little Sparta’, in reference to the Spartan wars in Ancient Greece, and a humorous nod to his own personal battles with organisations such as the Scottish Arts Council, Finlay grew his creative practice in its grounds over the course of 40 years.
Rarely leaving its confines for decades due to agoraphobia (a fear of open, crowded spaces), Finlay created over 260 sculptures and artworks at Little Sparta, distributed across its four acres of curated gardens. The site remains an integral part of Finlay’s artistic legacy and is open to the public to enjoy each summer.
Visitors to the exhibition can take a glimpse into the lush grounds of Little Sparta for themselves through Finlay’s installation Nature over again after Poussin (1979). Filling a whole room, the work comprises 11 photographs set on plinths, each offering different viewpoints of Little Sparta.
A carved stone can be found within each image, ‘signed’ with the initials of artists who embraced a more classical approach to painting landscapes. The work encourages a moment of escapism, embracing time to get lost within the serenity of each photo.
The exhibition will also take over the Keiller library, where visitors can uncover more about the man behind the artwork through a selection of rare archival materials. Objects including letters, personal photographs and notebooks, many of which have never been on display before, will give a unique insight into Finlay’s inspirations, artwork and life.
Patrick Elliot, Chief Curator of Modern and Contemporary Art at the National Galleries of Scotlandsaid: ‘Ian Hamilton Finlay was a completely unique figure in British art.
“Severe agoraphobia meant that he seldom left his house and garden in the Pentland Hills. Collectors, museum curators and art lovers from all over the world came to see him and his garden over a period of 40 years.
“He was a complete maverick, a wonderful, complicated, fascinating man and artist. Totally uncompromising and at times difficult, he created what is, in many people’s eyes, the greatest artwork created in Scotland in the second half of the twentieth century: his garden at Little Sparta.’
Ian Hamilton Finlay is free to visit and yours to discover at Modern Two from Saturday 8 March 2025.
The centenary of the remarkable Scottish artist Ian Hamilton Finlay (1925-2006) will be marked in a new free display of his work on the ground floor of Modern Two in Edinburgh from 8 March to 26 May 2025.
This exhibition will showcase key highlights from Ian Hamilton Finlay’s artistic career, starting in the early 1960s until his death in 2006. Hailed as a unique combination of poet, sculptor, printmaker, gardener and provocateur, Finlay’s practice covered a wide range of media which will be reflected in this display of sculptures and prints as well as never-before-seen archival materials and a room-sized installation, all from Scotland’s national collection.
From the Classical world to the French Revolution, the Enlightenment to World War Two, Finlay, a self-proclaimed ‘anti-modernist’, often looked to history for inspiration. Recurring motifs including boats, tanks, wallflowers and ships can be spotted throughout the range of artwork that will be on display. Although simple by design, they often draw on more complex references to history, literature and art – with subtle humorous nods.
Ian Hamilton Finlay; with John Andrew
Born in the Bahamas in 1925 to Scottish parents, Finlay moved to Scotland in his early childhood, taking up a brief stint at Glasgow School of Art and eventually settling in Edinburgh in the late 1950s. His love of the written word influenced the start of his career as a playwright and poet. He became a key figure in the concrete poetry movement – a type of visual poetry where words are arranged to create patterns and images on the page.
Visitors will see early examples of Finlay’s concrete poetry, including the screenprint Star/Steer (1966), which tells the visual tale of a ship navigating stormy seas under the silvery light of the stars, presented through cascading words.
The artist’s first steps into the world of sculpture will also be explored through his days as a hobbyist toy-maker in 1960s Edinburgh. The exhibition will feature the wooden Toy Cow (1962-63), one of the earliest examples of Finlay’s sculptural work, alongside photographs of the artist amongst his toy creations.
A visionary artist, Finlay harnessed the power of collaboration throughout much of his work, drawing on the expertise of fellow makers and creators to bring his artistic visions to life. From stone-carvers to typographers, ceramicists to calligraphers, he employed a wide range of specialist technicians to realise his work.
In 1966, Finlay and his wife Sue moved into a semi-derelict farmland called Stonypath, south-west of Edinburgh, sheltered within the Pentland Hills. Here, he would go on to create what is often considered his greatest work: an ambitious, expansive garden filled with sculptures.
Renamed ‘Little Sparta’, in reference to the Spartan wars in Ancient Greece, and a humorous nod to his own personal battles with organisations such as the Scottish Arts Council, Finlay grew his creative practice in its grounds over the course of 40 years.
Rarely leaving its confines for decades due to agoraphobia (a fear of open, crowded spaces), Finlay created over 260 sculptures and artworks at Little Sparta, distributed across its four acres of curated gardens. The site remains an integral part of Finlay’s artistic legacy and is open to the public to enjoy each summer.
Visitors to the exhibition can take a glimpse into the lush grounds of Little Sparta for themselves through Finlay’s installation Nature over again after Poussin (1979). Filling a whole room, the work comprises 11 photographs set on plinths, each offering different viewpoints of Little Sparta.
A carved stone can be found within each image, ‘signed’ with the initials of artists who embraced a more classical approach to painting landscapes. The work encourages a moment of escapism, embracing time to get lost within the serenity of each photo.
The exhibition will also take over the Keiller library, where visitors can uncover more about the man behind the artwork through a selection of rare archival materials. Objects including letters, personal photographs and notebooks, many of which have never been on display before, will give a unique insight into Finlay’s inspirations, artwork and life.
Patrick Elliot, Chief Curator of Modern and Contemporary Art at the National Galleries of Scotland said: ‘Ian Hamilton Finlay was a completely unique figure in British art.
“Severe agoraphobia meant that he seldom left his house and garden in the Pentland Hills. Collectors, museum curators and art lovers from all over the world came to see him and his garden over a period of 40 years.
“He was a complete maverick, a wonderful, complicated, fascinating man and artist. Totally uncompromising and at times difficult, he created what is, in many people’s eyes, the greatest artwork created in Scotland in the second half of the twentieth century: his garden at Little Sparta.’
Ian Hamilton Finlay is free to visit and yours to discover at Modern Two from Saturday 8 March 2025.
National Galleries of Scotland has announced an unmissable programme of free and ticketed exhibitions set to take over the National, Portrait and Modern galleries in Edinburgh throughout 2025.
From striking installations in Andy Goldsworthy: Fifty Yearsto time travelling into The World of King James VI and I, taking to the skies with Alfred Buckham: Daredevil Photographer, a celebration of 250 years of JMW Turner with Turner in January: Ireland’s Vaughan Bequest and more.
There will be a sensational array of art to enjoy in the Scottish capital next year. Ticketed exhibitions can be booked online now What’s on | National Galleries of Scotland
From 26 July until 2 November 2025, immerse yourself in a major large-scale exhibition by Andy Goldsworthy. Andy Goldsworthy: Fifty Years will take over the upper and lower galleries in the Royal Scottish Academy building for the summer. Based in Scotland, Goldsworthy (born 1956) is internationally famous for his extraordinary work with natural materials.
The exhibition will span five decades of creation with over 200 works including photographs, sculptures, and expansive new installations. Goldsworthy will also create several major new works onsite at the Royal Scottish Academy building especially for Andy Goldsworthy: Fifty Years. This spectacular summer exhibition is sure to be one of the most talked-about of the year – and it is showing only in Edinburgh.
Next spring at the Portrait, travel back in time and be immersed in The World of King James VI and I. Son of Mary, Queen of Scots, successor to Elizabeth I and the first monarch to rule over Scotland, England and Ireland, get to know King James (1566 – 1625) and step into the world in which he lived, ruled and changed forever.
Marking the 400-year anniversary of King James’s death, this exhibition will chart his remarkable reign through stories of friendship, family, feuds and ambition. Drawing on themes with contemporary relevance, including national identity, queer history, belief and spirituality, The World of King James VI and Iwill be an enriching journey through the complex life of a King who changed the shape of the United Kingdom.
Over 100 objects will be on display, including ornate paintings, dazzling jewels, lavish designs and important loans from galleries across the UK, celebrating craft and visual art from the 16th and 17th centuries. From 26 April – 14 September 2025 come and be fully immersed in the sights, sounds (and even smells) of the period, connecting the people of the past with the people of today. Tickets are on sale now.
In 2025 the National Galleries of Scotland will commemorate the 250th birthday of beloved British artist JMW Turner (1775 – 1851) with a once in a lifetime, free exhibition. For the first time, visitors will be able to marvel at over 30 Turner watercolours from Dublin.
Turner in January: Ireland’s Vaughan Bequest at the Royal Scottish Academy building will be one-off special take on the keenly awaited and much-loved annual tradition. Spanning the breadth of Turner’s career, visitors can roam through sweeping seascapes, dramatic landscapes and spectacular cities, many displayed in their original frames.
As part of this special partnership, the Turner works from the Scottish national collection will go on display at the National Gallery of Ireland allowing visitors in both Scotland and Ireland to connect with works from the Henry Vaughan Bequest they don’t often get to see.
There will be another two new and exciting projects making their way to the Moderns in 2025. From next summer you can explore your collection at Modern One with a series of new free displays showcasing magnificent and diverse works of 20th and 21st century art belonging to the people of Scotland.
This includes an opportunity to see compelling works from ARTIST ROOMS, the national touring collection cared for jointly by the National Galleries of Scotland and Tate. Discover the bold and varied self-portraits of Robert Mapplethorpe, immerse yourself in Louise Bourgeois’s evocative practice, and be captivated by the works of Helen Chadwick in a new ARTIST ROOMS display.
Chadwick’s Self Portrait (1991) from Scotland’s national collection will feature alongside the major sculptural installation, Piss Flowers (1991-2), which will be lent by Tate having recently been donated as part of the D.Daskalopoulos Collection Gift.
Explore this powerful new presentation of the nation’s superb contemporary and modern collection from 12 July 2025. A further exhibition taking place at Modern Two will be announced in early 2025.
The centenary of revered Scottish artist Ian Hamilton Finlay (1925 – 2006) will also be marked in a new free display of his work at Modern Two from 8 March to 26 May 2025. A visionary in his craft, Ian Hamilton Finlay harnessed the power of collaboration throughout his career, drawing on the expertise of fellow makers and creators to bring his artistic visions to life.
Hailed as a poet, sculptor, printmaker, gardener and provocateur, his practice covered a wide range of media, reflected in this display through over 30 sculptures, installations and prints as well as extensive archival materials, all from Scotland’s national collection.
Moving into the autumn at the Portrait, take to the skies and see the world from above the clouds through the remarkable work of Alfred Buckham: Daredevil Photographer.
A trailblazer in his field, Buckham (1879 – 1956) soared above the realms of what was thought to be possible in 20th century photography and aviation.
From 18 October 2025 – 19 April 2026, meet the man behind some of the most iconic aerial photographs, marvel at the death-defying lengths he took to capture the perfect image and explore how his innovative techniques paved the way for modern technologies such as Photoshop and AI.
Explore the imaginative Your Art World exhibition at the National, showcasing the inspirational works of young artists from all over Scotland aged 3 – 18-year-olds. The exhibition is a celebration of what happens when young people are encouraged to be wildly creative.
Discover installations from school and community groups who have worked alongside the National Galleries of Scotland. Or even view the creations of the young people in your own life.
With the opportunity to upload artwork online via the website, anyone aged 3-18 can see their own digital submissions on screen in the gallery. Immerse yourself in the imagination of these young artists from 10 May to 2 November 2025.
Anne Lyden, Director-General at the National Galleries of Scotlandsaid: “We’re really excited to announce our 2025 public programme, which is packed full of fantastic exhibitions.
“Breathtaking installations at the Royal Scottish Academy, soaring above the clouds at the Portrait gallery, and modern and contemporary highlights from your national collection at the Moderns.
“Whether you want to be inspired, find a moment of calm or share a joyful experience with friends – there’s so much to discover at the National Galleries of Scotland.”
Exhibition dates:
Turner in January: Ireland’s Vaughan Bequest:1- 31 January 2025 | FREE | National Galleries Scotland exhibition at the Royal Scottish Academy building
Ian Hamilton Finlay: 8 March – 26 May 2025 | FREE | National Galleries Scotland: Modern Two
The World of King James VI & I: 26 April – 14 September 2025 | Tickets £4-£9 | National Galleries Scotland: Portrait
Your Art World: 10 May – 2 November 2025 | FREE | National Galleries Scotland: National
ARTIST ROOMS: Opening 12 July 2025 | FREE | National Galleries Scotland: Modern One
Andy Goldsworthy: Fifty Years: 26 July – 2 November 2025 |Tickets £5-£19 | National Galleries Scotland exhibition at the Royal Scottish Academy building
Alfred Buckham: Daredevil Photographer: 18 October 2025 – 19 April 2026 | FREE | National Galleries Scotland: Portrait
Be inspired by stories of collaboration, creativity and rebellion in Women in Revolt! Art and Activism in the UK 1970-1990 at Modern Two in Edinburgh.
The first of its kind, Women in Revolt! is a major survey of feminist art, celebrating the women whose radical ideas and rebellious methods changed the face of British culture. Come and discover the powerful and often provocative work of over 100 women artists and collectives, forged against the backdrop of seismic social and economic change over two decades. The exhibition will open to the public on Saturday 25 May and tickets are on sale now from the National Galleries of Scotland website.
Curated by Linsey Young, Curator of British Contemporary Art at Tate Britain, in collaboration with the National Galleries of Scotland and The Whitworth, The University of Manchester, Women in Revolt! will take over the entire Modern Two gallery in Edinburgh until 26 January 2025. Following its debut at Tate Britain in November 2023, the exhibition will bring to Edinburgh a select range of works from the London show, drawing from public and private collections across the country in what will be the only chance to see this landmark exhibition in Scotland.
Women in Revolt! spans two decades of art and activism, charting a range of themes and social issues that influenced and impacted on women artists.
Topics such as the Women’s Liberation Movement, maternal and domestic experiences, Punk and independent music, Greenham Common and the peace movement, the visibility of Black and South Asian women artists, and Section 28 and the AIDS epidemic will be explored in six thematic galleries platforming the creative contributions, ideas and activism of a diverse set of communities living and working in the UK throughout this period.
Women in Revolt! will highlight the ways in which women challenged societal norms through their creativity, both collectively and in isolation, using their lived experiences to create art and fight injustice.
Paintings, drawings, sculptures, textiles, films, photography, and documentation of performances will be shown alongside a range of archival materials, with many artworks on display for the first time since the 1970s.
Work by well-known artists including Sonia Boyce, Helen Chadwick and Linder will be displayed side by side with an array of artists who, despite their long careers, have been left out of the mainstream art historical narratives.
Featuring artists from across the UK, the powerful work and pioneering techniques of Scottish-based women artists will also be showcased. Visitors will encounter works such as Cool Bitch and Hot Dog (1978) by Edinburgh-based artist and weaverElizabeth Radcliffe.
Her sculptural three-dimensional tapestry reflectsthe artist’s desire to be a modern woman, defying the passive stereotypes of mother, caregiver, cleaner or sexual object. Glasgow-born artist Rita McGurn utilised a range of found and domestic materials to create work, using techniques such as crochet, a long-undervalued artistic medium due to its domestic associations. Several of McGurn’s characterful life-sized soft sculptures will go on display at Modern Two.
Select works from Scotland’s national collection will also go on display, including two important new acquisitions by Penny Slinger: Wedding Cake – Open Secret (1973) and Bride and Groom – Ceremonial Cutting of the Cake (1973).
Part of her Bride’s Cake series (1973), these works document a performance in which Slinger wears a handmade wedding cake costume. The artist describes the series as ‘both a parody of a wedding ritual, and recreation from a woman’s point of view’.
Further works to be seen from the Scotland’s national collection include Urania from the series Zabat (1989) by the Scottish-Ghanaian artist and writer Maud Sulter.
A significant figure in the Black Arts Movement, Sulter used her practice to challenge white supremacy and reconsider history through a personal lens as a Black woman.
The monumental Warrior Woman V: The Artist (1986), by Glasgow-based Sam Ainsley will be shown in Scotland for the first time in nearly four decades as part of this tour. Standing at over 11 feet tall and brimming with the spirit of protest, Ainsley’s work embodies the artist’s expression of feminist concerns, challenging the patriarchy and asserting female power.
The dramatic evolution of women’s relationships with work, domesticity and motherhood created an extensive source of inspiration for artists throughout this period. Frustrations fuelled by the expectations of domestic labour are palpable in a range of impactful works on display by artists such as Bobby Baker, Alexis Hunter and the See Red Women’s Workshop whose bold poster works challenge sexist stereotypes and directly reflect the demands and concerns of the Women’s Liberation Movement.
The social and political implications of women raising a family also comes into play in works such as The Hackney Flashers’ Who’s Holding the Baby (1978). The installation critiques the lack of government supported childcare and sheds light on the impossible position of being both a mother and a worker in 1970s Britain.
The riotous and expressive era of Punk and Post-Punk movements will be examined through collage, painting, film and photography by artists and musicians including Marianne Elliott-Said (A.K.A Poly Styrene), Caroline Coon, Linder and The Neo Naturists, whose ritualistic performance art of the 1980s used bold body paint to challenge the objectification of the female form.
Gina Birch, a founding member of the experimental Punk band The Raincoats, also presents her 1977 film 3 Minute Scream, where the artist can be heard screaming for the duration of a Super 8 cartridge. The film communicates a powerful statement of defiance, conveying what many young women felt but were not given the opportunity to articulate.
The art of protest and women’s role in activism will form a key element of the show, with a range of banners, posters and journals, as well as documentary photography by Format Photography Agency, and artists such as Mumtaz Karimjee, and Bhajan Hunjan telling the story of rousing, women-led protests throughout this time.
Women in Revolt! focuses on causes such as the Greenham Common Women’s Peace Camp, established in 1981 to protest the placement of nuclear weapons, as well as the Section 28 protests, fighting against laws prohibiting the promotion of homosexuality.
Materials exploring the 1984 Miners’ Strike and anti-racism campaigns are also represented, highlighting the central role women have played in activism.
Women in Revolt!will also platform the crucial contribution of Black and South Asian women artists and activists.
The exhibition will explore the impact of women involved in movements including the BLK Art Group and the advocacy group and archive Panchayat, as well as their role in the first National Black Art Convention in 1982.
Key works by artists including Sutapa Biswas, Lubaina Himid, Claudette Johnson, Joy Gregory, Pratibha Parmar and Rita Keegan will feature alongside recently conserved works such as Nina Edge’s Snakes and Ladders (1985), an installation made of batik on paper and ceramicsandexhibited as part of Women in Revolt! for the first time in three decades.
The final room brings together work created in the context of the AIDS epidemic and Section 28 in the late 1980s, with a focus on lesbian communities.
Discover the powerful work of artists including Jill Posener, Del LaGrace Volcano, Rosy Martin, Poulomi Desai and Tessa Boffin. Women in Revolt! concludes with works that reflect on the changing economic landscape and women’s place within it by Kate Walker, Franki Raffles and Roshini Kempadoo.
Women in Revolt!is a timely and urgent exhibition celebrating the women who paved the way for future generations through their creativity and activism. The power of their work continues to resonate with audiences today.
Anne Lyden, Director-General at the National Galleries of Scotlandsaid: “We are proud to platform the work of women artists who have been underrepresented throughout their careers and are grateful to Tate for bringing this important exhibition to the forefront.
“Women in Revolt! also presents a fantastic opportunity to consider the Scottish women artists who have contributed significantly not only to the world of art, but the world around us.
“We hope visitors to Modern Two will be inspired by the tenacity, creativity and strength of the remarkable women they will encounter throughout this exhibition.”
Linsey Young, Curator of British Contemporary Art at Tate Britain said: “Being from Edinburgh, I’m thrilled that Women in Revolt! is touring to the National Galleries of Scotland.
“I’m particularly excited to see it take over Modern Two where the gallery’s unique space will allow it to a develop a new character and encourage different readings of the work.
“It’s a real joy to be able to present works by local artists such as Maud Sulter, Sam Ainsley, Rita McGurn, Erica Rutherford and Elizabeth Radcliffe in the exhibition along with so many of their celebrated peers, demonstrating the importance of Scottish women’s artistic practice in the broader context of feminist art history across the UK.”
