Visitors to the City Art Centre can now celebrate a key figure behind in the city’s art collection with the installation of a statue honouring Jean Fletcher Watson.
In the 1960s, Edinburgh resident Jean Fletcher Watson (1877-1974) established The Jean F. Watson Bequest, a significant financial contribution to the City of Edinburgh dedicated to building a collection of Scottish art. This bequest remains the city’s primary funding source for acquiring artworks.
Since then, the fund has been used not only to address historical gaps in the fine art collection but also supports the purchase of contemporary works.
To date over 1,000 artworks have been acquired through the Bequest, featuring notable pieces by renowned artists such as Allan Ramsay, John Lavery, J.D. Fergusson, Dorothy Johnstone, William Gillies, Wilhelmina Barns-Graham, Eduardo Paolozzi, Joan Eardley, John Bellany, Victoria Crowe, and Maud Sulter.
In the 1960s, to honour Watson’s vital contribution to the development of the collection, the city commissioned sculptor Eric Schilsky to create a portrait bust of her. Schilsky, who served as Head of the School of Sculpture at Edinburgh College of Art from 1945 to 1969, crafted this bronze bust, which is now permanently displayed as part of the City Art Centre’s collection.
Val Walker, Convener for Culture and Communities, said: “I am thrilled that the council approved the request from the Committee of the Jean F. Watson Bequest to provide a permanent showcase for this influential figure in our culture. Her contributions to the visual arts and culture in Edinburgh are invaluable and she should be celebrated.
“It’s remarkable that over 1,000 works have been acquired through this fund, tracing the evolution of visual arts in Scotland from the 17th century to today.
“The collection offers a rich overview for both current audiences and future generations, encompassing a diverse array of styles and mediums, including painting, drawing, printmaking, photography, sculpture, and installation art.
“Now whilst enjoying the collection visitors can also learn about Jean F Watson’s legacy.”
Launching Thursday 8 June at Calton Hill from 12noon – 6pm
Travelling Gallery is pleased to announce the second season of its 2023 programme which takes a new approach to touring with environmental concerns and community partnerships at the heart.
Season two hits the road in June 2023 with the exhibition High on the Summit Ridge by Gabecare; a collaborative art project by Rachel Adams and Tessa Lynch which investigates the domestic mess of 21st century living.
Gabecare take their name from little known American inventor Francis Gabe who devoted much of her life to designing and building the world’s one and only self-cleaning home.
In an attempt to rid herself of the thankless, unpaid, and never-ending housework, Gabe used her own money and construction skills to develop and build a house that cleaned, rinsed, and dried everything from the dishes in the cupboard to clothes in the wardrobe. She eventually received a patent for her design in 1984.
Exploring the unpaid labour that goes into housework, Gabecare draw our attention to who carries out the care and maintenance at home (tidying is a task that is noticed when it’s not done but unnoticed when it’s done) while at the same time managing to embrace and even celebrate the continual messiness of our daily lives.
Taking inspiration from social history and the evolution of housework, Gabecare have created an enjoyable installation which provokes storytelling and memories from our own families while also digging deeper and questioning the economy around housework and care.
Launching in Edinburgh on Calton Hill on Thursday 8 June from 12noon – 6pm the exhibition will tour to the following locations:
Western Isles, in partnership with An Lanntair
Argyll & Bute, in partnership with talc
West Dunbartonshire, in partnership with West Dunbartonshire Council
Scottish Borders, in partnership with Borders Live
North Lanarkshire, in partnership with North Lanarkshire Council
Falkirk, in partnership with Falkirk Community Trust
Edinburgh, in partnership with Edinburgh Art Festival
Claire Craig, Curator of Travelling Gallery, said: “We are so excited to take Gabecare’s exhibition to audiences across Scotland. Tessa Lynch and Rachel Adams have made a really enjoyable exhibition which also raises important questions around unpaid labour and care.
“I can’t wait to discuss the artwork and themes with our visitors.”
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
Museums & Galleries Edinburgh officially launch Auld Reekie Retold, the largest collections inventory project ever undertaken in the organisation’s history.
Over the course of three years, the ambitious project will see the recording and cataloguing of the collection of over 200,000 objects which are housed in stores and venues across the City, in preparation for a move to a new store where those objects can be safely stored and effectively managed.
Auld Reekie Retold isn’t solely based on collection management. It will also connect objects in the collection, which has been growing steadily since the 1870’s, with people and places in the City, uncovering new stories from Edinburgh and its residents.
The project will harness that public and professional knowledge about objects in the collection to share it with visitors, both in person at the museums and digitally throughout the project.
That gathered knowledge and data will also be used to develop exhibitions and displays in the future – with all work designed to consolidate Museums & Galleries Edinburgh’s position as a leading Scottish cultural institution and to help better serve the people of Edinburgh and visitors from across the world.
Earlier this year, Museums & Galleries Edinburgh stood in solidarity with the #BlackLivesMatter movement and pledged to play an active role in standing up to racism. Auld Reekie Retold is an important opportunity for greater understanding of the origins of the collections and the way they have been catalogued.
Throughout the lifecycle of the project, the impact of Colonialism will be highlighted, seeking to educate and bring new perspectives and hidden stories to light. Future phases of the project will involve working with diverse communities across Edinburgh to record objects in new ways that better reflect today’s world.
Permanent museum staff have been joined for the project by three dedicated Collections Assistants whose work focuses on matching objects with any existing records, updating the information currently held and carrying out research.
Prior to Covid-19 restrictions being in place, work was underway in object stores across the city and although some of this work is now paused, team members are very much continuing to work through digital records.
Below are a few examples of some fascinating stories and objects that have already come to light, as part of work carried out prior to lockdown, with many more future stories and news of new discoveries and calls for public input being shared across the duration of the project:
Consider for instance a tiny round metal stamp used for impressing on to wax, with the name and Trinity address of William Flockhart. Flockhart and his partner Duncan were surgeon apothecaries who produced a number of drugs and medicines in the 1840s. Among the customers on their books were James Young Simpson, the inventor of anaesthetics, and Florence Nightingale.
Or a playbill printed on a 100,000 Deutschmark note for a play at the Lyceum Theatre entitled “Tons of Money”, staged in 1925, a time when hyper-inflation in Germany had reached a point where money was no longer worth the paper it was printed on. While people were paying for loaves of bread with wheelbarrows of cash, in Edinburgh, the bank note was used to advertise the ironically titled play.
The project will create a web of connections across the collections held by Museums & Galleries Edinburgh, from archaeology to social history. An example of this is the rediscovery of a small silver pendant of the Six Feet Club from the 1830s.
There were a surprising number of secret and not-so-secret societies in Edinburgh at this time, each with its own particular niche interest or membership rule. This club was dedicated to athleticism, and to be a member you had to be a man and oddly enough six foot tall. Sir Walter Scott was made an honorary member despite not being six-foot-tall and left with a limp by a bout of childhood polio.
Sometimes the finds are a little closer to home, like the Ronson Escort 2000 Hairdryer.
A “portable” hairdryer from the 1970’s, designed to be used at home and worn like a satchel with a tube that connected to a shower cap style hood which would allow you to go about your day as you dried and set your hair; as long as your day was only two feet from a plug. This was aimed at the modern women leaving her hands free to get on with her day, but from anecdotes from users it seems to imply it had varying results.
Once lockdown restrictions have eased and the museums reopen, Auld Reekie Retold will continue at pace.
There will be a series of exhibitions hosted across the collection including Museum of Edinburgh, The Writers’ Museum and the Museum of Childhood, allowing visitors the opportunity to learn more about the various processes involved in maintaining the collection and to connect with objects, bringing them to life in the process.
Thanks to a grant from Museums Galleries Scotland Museums Development Fund, the project will also feature a programme of public events and tours to enable visitors and special interest groups to engage with the collection and to share in the discoveries made.
While restrictions are in place, these events will be online, but when visitors are welcomed back in to the museums, they will be able to see and handle real objects themselves.
Information will also be made available digitally with regular updates, news and behind the scenes blogs and podcasts shared via www.edinburghmuseums.org.uk,
Museums & Galleries Edinburgh’s collections belong to the City, and Auld Reekie Retold aims to give every citizen of Edinburgh a sense of ownership of and connection to its objects and their stories as the organisation moves into a new dynamic phase of museums development with people, past and present at its heart.
Project Manager Nico Tyack said:“Auld Reekie Retold is a truly unique opportunity for Museums & Galleries Edinburgh to catch all the stories our collections can tell us about Edinburgh.
“From Jacobite muskets to life in tenements, Edinburgh Rock to Pride, medieval St. Giles to the Festival Fringe, we hope to spark conversations about our amazing collections and their hidden histories, gathering new insights for future generations to enjoy.”
Councillor Donald Wilson, Culture and Communities Convener, said: “Our world class collections are a powerful record of our journey to the present day as well as a window to the past where we can discover links to the Edinburgh and Scotland of yesterday.
“We are lucky as a city to have this resource but at the moment much of it is hidden and inaccessible. This is very important behind the scenes work as we review how we currently meet the needs of our citizens and how we can better use our collections.
“I have long believed there is untapped potential in our collections and Auld Reekie Retold is allowing us to develop and gain a fuller understanding of what we have. By recording and cataloguing the collection of over 200,000 objects, it will also highlight those items that can be used for online resources and future exhibitions”.
Councillor Amy McNeese-Mechan, Culture and Communities Vice Convenor, added: “This project will help to broaden participation with our Museums & Galleries and ensure their long-term relevance.
“This is the story of our city and it needs to be told. It is only by understanding how we got to where we are now that we can know where we want to go in the future.”
Future of Britain’s museums, galleries, theatres, independent cinemas, heritage sites and music venues will be protected with emergency grants and loans
Funding will also be provided to restart construction work at cultural and heritage sites paused as a result of the pandemic
Britain’s arts, culture and heritage industries will receive a £1.57 billion rescue package to help weather the impact of coronavirus, the UK government has announced.
Thousands of organisations across a range of sectors including the performing arts and theatres, heritage, historic palaces, museums, galleries, live music and independent cinema will be able to access emergency grants and loans.
The money, which represents the biggest ever one-off investment in UK culture, will provide a lifeline to vital cultural and heritage organisations across the country hit hard by the pandemic. It will help them stay afloat while their doors are closed. Funding to restart paused projects will also help support employment, including freelancers working in these sectors.
Many of Britain’s cultural and heritage institutions have already received unprecedented financial assistance to see them through the pandemic including loans, business rate holidays and participation in the coronavirus job retention scheme. More than 350,000 people in the recreation and leisure sector have been furloughed since the pandemic began.
This new package will be available across the country and ensure the future of these multi billion-pound industries are secured.
Prime Minister Boris Johnson said: “From iconic theatre and musicals, mesmerising exhibitions at our world-class galleries to gigs performed in local basement venues, the UK’s cultural industry is the beating heart of this country.
“This money will help safeguard the sector for future generations, ensuring arts groups and venues across the UK can stay afloat and support their staff whilst their doors remain closed and curtains remain down.”
Oliver Dowden Culture Secretary said: “Our arts and culture are the soul of our nation. They make our country great and are the lynchpin of our world-beating and fast growing creative industries.
“I understand the grave challenges the arts face and we must protect and preserve all we can for future generations. Today we are announcing a huge support package of immediate funding to tackle the funding crisis they face. I said we would not let the arts down, and this massive investment shows our level of commitment.”
Rishi Sunak, Chancellor of the Exchequer, said: “Our world-renowned galleries, museums, heritage sites, music venues and independent cinemas are not only critical to keeping our economy thriving, employing more than 700,000 people, they’re the lifeblood of British culture.
“That’s why we’re giving them the vital cash they need to safeguard their survival, helping to protect jobs and ensuring that they can continue to provide the sights and sounds that Britain is famous for.”
The package announced today includes funding for national cultural institutions in England and investment in cultural and heritage sites to restart construction work paused as a result of the pandemic. This will be a big step forward to help rebuild our cultural infrastructure.
This ‘unprecedented’ package includes:
£1.15 billion support pot for cultural organisations in England delivered through a mix of grants and loans. This will be made up of £270 million of repayable finance and £880 million grants.
£100 million of targeted support for the national cultural institutions in England and the English Heritage Trust.
£120 million capital investment to restart construction on cultural infrastructure and for heritage construction projects in England which was paused due to the coronavirus pandemic.
The new funding will also mean an extra £188 million for the devolved administrations in Northern Ireland (£33 million), Scotland (£97 million) and Wales (£59 million).
Decisions on awards will be made working alongside expert independent figures from the sector including the Arts Council England and other specialist bodies such as Historic England, National Lottery Heritage Fund and the British Film Institute.
Repayable finance will be issued on generous terms tailored for cultural institutions to ensure they are affordable. Further details will be set out when the scheme opens for applications in the coming weeks.
The People’s Story at 30: The Making of the Museum
It’s been 30 years since The People’s Story Museum opened its doors for the first time, becoming one of the UK’s leading social history museums. Radical and ground breaking at the time, it was concerned with the lives and times of the ‘ordinary’ people of Edinburgh; the real people whose lives played out in this historical city. Continue reading Thirty Years of The People’s Story
The hardship and horror of a war that reached beyond the front line to our own doorsteps has been captured in a new exhibition at the City of Edinburgh Council’s Museum of Edinburgh.
On display from today until 27 June, Scars on the City: Edinburgh in World War I draws on the Capital’s extensive collection of objects and oral archives to recall what it was like to be in Edinburgh while the war was raging.
Documenting the stories of local munitions workers, nurses and children – and including an account of war recruitment drives that thronged the city’s streets – the display homes in on the tragic zeppelin raids of April 1916 which destroyed local buildings and scarred the Capital.
Councillor Richard Lewis, Culture and Sport Convener for the City of Edinburgh Council, said the exhibition offers a stirring glimpse at life on the home front during WW1. He said: “Scars on the City reveals the will of Edinburgh’s home front and how people coped with the hardship and dangers of the war. Most of the objects and photographs on display are from the city’s own archives, and have been based on fascinating accounts from those who lived through the unrest.
“Over the last year the Council has provided a programme of free exhibitions and events across the city which commemorate the centenary of WW1 and life on the front line. This free to visit display brings it back ‘home’ and recalls what life was like for those left behind. It’s hard to imagine Edinburgh’s skyline being attacked from the air by zeppelins, and it is stirring to see how the city was destroyed, but also how it survived and was rebuilt.”
Exhibition curator Vicky Garrington said she was spoilt for choice when it came to selecting objects for the exhibition. She commented: “We’ve got some wonderful objects that will really transport visitors back to wartime Edinburgh. There are pieces of shrapnel collected after the zeppelin raids on Edinburgh in April 1916. A Braille pocket watch used by a blinded ex-servicemen shows the sacrifices made to defend Britain, and younger visitors will enjoy seeing the toys and games children played with during the war, drawn from the Museum of Childhood collection.
“I was surprised to find out how clued up young people at the time were about the details of the War. Cigarette cards taught them about ranks, Army signals and artillery, while board games challenged them to evade mines and bombs en route to Berlin.”
Scars on the City: Edinburgh in World War I will be on display at the Museum of Edinburgh until 27 June 2015.
The Museum is owned and managed by the City of Edinburgh Council’s Museums & Galleries service and is free to visit.
