National Galleries of Scotland – The NEN

Self-portrait by Scottish painter Jack Vettriano to go on display at National Galleries of Scotland

National Galleries Scotland: Portrait

Portrait of the Artist, Jack Vettriano

1 March 2026 – 2029

Free

Commemorating one year since the passing of celebrated Scottish painter Jack Vettriano, National Galleries of Scotland has announced it is to showcase two works by the artist.

Celebrating the life and prolific career of Vettriano, the artist’s estate will loan two self-portraits Portrait of the Artist and Homage to Fontana? over a six-year period. Portrait of the Artist will go on display on the one-year anniversary of his passing on 1 March 2026, at National Galleries Scotland: Portrait.

Free to visit, the painting will stay on display until early 2029 when it will then be swapped with Homage to Fontana?.

A self-taught painter, Vettriano was loved at home in Scotland and internationally for his evocative and timeless works that continue to captivate and inspire. His career made a huge contribution to the Scottish arts and culture scene and even broke records in the UK and Scotland.

In 2004 his painting The Singing Butler achieved a record price for a Scottish painting sold at auction and went on to become the best-selling art print in the UK. The work even inspired Banksy, whose reimagining of the painting sold in March 2025 for £4.3million. Vettriano is internationally recognised, with the likes of Jack Nicholson, Sir Alex Ferguson and Sir Tim Rice among collectors of his work.

Portrait of the Artist, painted in 1993, is an early self-portrait by Vettriano and was painted a year after The Singing Butler. It depicts the artist taking a break from painting at his Edinburgh flat where he had a studio. A dramatic depiction of light and shade sets the scene for a moment of contemplation. The artist’s paint-splattered clothes emphasise the task at hand.

The cinematic Homage to Fontana? was painted later in 1999. The title and slashes in the painted canvas reference the Argentine-Italian artist Lucio Fontana (1899–1968) whose slashed canvases of the 1950s and 60s blurred the distinction between two and three dimensions to create ‘an infinite dimension’.

Vettriano invites us to follow his act of contemplation in relation to what lies beneath the surface and beyond. The painting returned to Edinburgh in July 2025 after its inclusion in a Vettriano exhibition at the Palazzo Pallavicini in Bologna and is the largest of three versions of this composition.

Born Jack Hoggan, Vettriano grew up in the coastal mining village of Methil in Fife. After leaving school at 15, he followed his father down the mine, working as an apprentice engineer.

He later moved on to white-collar jobs in management services, taking up painting as a hobby in the 1970s when a girlfriend bought him a set of watercolours for his birthday.

From then on, Vettriano spent much of his spare time teaching himself to paint.

He learned by copying Old Masters, Impressionists, Surrealists and a plethora of Scottish artists, taking inspiration from studying the collection at Kirkcaldy Galleries. It was his experience living near Leven Beach which prompted him to make the decision: ‘I’m going to set some paintings on beaches.’

A figurative painter, Vettriano described his work as ‘more or less autobiographical.’ He worked from photographs of scenes he staged with models in his studio.

His paintings evoke the nostalgia of the 1940s and 50s and were often set, in the artist’s own words, in ‘sombre and sordid interiors’. Vettriano’s dramatic use of light and shade is a distinctive element of his work and heightens the stories of love, sex and betrayal in his paintings.

In the late 1980s he moved to Edinburgh and took his mother’s last name, Vettriano. The artist’s breakthrough came in 1988 when he submitted two works to the Royal Scottish Academy’s Annual Exhibition, with both works selling within the first day.

Subsequently he was courted by several galleries, with his first solo exhibition in Edinburgh in 1992. Soon, his works began to gather international acclaim, leading to exhibitions in London, Hong Kong, Johannesburg and New York.

The first major retrospective of his work was at Kelvingrove Art Gallery in 2013 and featured Homage to Fontanna?. The exhibition was record-breaking, attracting more than 136,000 visitors over its five-month run.

Imogen Gibbon, Head of Portraiture & Photography & Chief Curator at the National Galleries Scotland, said: ‘‘We’re thrilled to be welcoming visitors to the Portrait gallery to come and see Portrait of the Artist – by Jack Vettriano. It feels particularly significant that we are able to showcase a self-portrait to celebrate Vettriano’s contribution to Scottish culture on the anniversary of his death.

“This portrait and the subsequent work Homage to Fontana? will take their place on loan in The Modern Portrait display amongst the many other contemporary portraits of Scots who have made an impact at home in Scotland and internationally.

“National Galleries of Scotland extend our thanks to the artists estate, who came to us with this idea and supported us to make it happen’.”

Carolyn Osborne, Director, Jack Vettriano Publishing Limited, said: ‘Jack was known as The People’s Painter and it’s entirely fitting that the public will be able to see one of his paintings in such a beautiful setting within a mile of where it was painted.’

National Galleries of Scotland celebrate the return of Scotland’s Surrealism collection

Scotland’s world class collection of surrealist art is back home in Modern One and free to visit from 17 December 2025. Embrace the strange and explore one of the most important and comprehensive holdings of surrealist art in the world, all belonging to the people of Scotland!

Encounter art by leading figures such as Salvador Dalí, Dorothea Tanning, Max Ernst, René Magritte and Toyen. Step inside the minds behind one of the most radical and influential artistic and literary movements of the 20th century. With over 40 works on display over two rooms, find bizarre creatures and weird machines, eerie landscapes and curious spaces. These uncanny compositions juxtapose the familiar with the peculiar, challenging reality and exploring the potential of the mind.

For the first time ever, visitors will be able to discover two works by Remedios Varo and Leonora Carringtonin the same space since the works were acquired Encounter (Encuentro) (1959) by Varo and Portrait of Max Ernst by Carrington.

Varo and Carrington were amongst many creatives and intellectuals who fled Europe during the Second World War. Both artists eventually settled in Mexico City, where they became friends and collaborators. They profoundly influenced each other’s work and remained close until Varo passed away suddenly in 1963.

Having been on tour for the last two years, visitors can once again explore the collection at its home in Scotland.

The nation’s collection of Surrealism is one of the most important in the world, largely thanks to the acquisition of two major private collections in the 1990s. The first collection arrived between 1994 and 1995 with the purchase of a selection of paintings, sculptures, works on paper, rare books and manuscripts from the collection of Sir Roland Penrose.

Artist, writer and patron, Penrose encountered Surrealism in Paris in the mid–1920s. His collection reflects the artists he met, the friendships he made, and his deep fascination with surrealist art and ways of thinking.

A short time later, in 1995, Gabrielle Keiller donated her collection of surrealist art to the National Galleries of Scotland. This features a comprehensive library and archive that consisted of over 1,000 books, periodicals, catalogues and other archival items which are housed in the Keiller Library at Modern Two, which is also free to visit.

Since then, this incredible collection has continued to grow, exploring Surrealism as an international phenomenon that spanned decades and stretched across continents. The display gives an insight into Surrealism not only as a movement, but also as a mindset, and one with enduring cultural significance.

Surrealism (meaning ‘beyond realism’ in French) was founded in 1924, with the publication of the first Surrealist Manifesto It evolved from the anti-art Dada movement, which formed during the First World War.

Like the dadaists, the surrealists rejected the ordinary and embraced the strange, using their art to question the state of the world at a time of great social, economic and political upheaval. Surrealist artists were united by ideology rather than by a particular style or medium.

Influenced by the psychoanalytical writings of Sigmund Freud, they attempted to reach beyond reality and immerse themselves in dreamworlds. Some even developed new ‘automatic’ techniques that relied on chance effects. These were believed to produce uninhibited, visionary signs and symbols, free from the constraints of rational thinking.

Tor Scott, Assistant Curator at National Galleries of Scotland, said: “We are delighted to be welcoming this incredible collection back to Modern One after its successful international tour.

“The National Galleries of Scotland boasts one of the most comprehensive holdings of surrealist art in the world, and it is always so popular with our visitors. Whether people have existing knowledge of Surrealism or are seeing these works for the first time, there is something about the dreamlike, uncanny and bizarre that always captures people’s attention.

“The display includes paintings by international artists such as Remedios Varo and Max Ernst, as well as works by English and Scottish artists like Edith Rimmington and Edwin Lucas, exploring the far-reaching impact of this radical movement.”

The surrealist collection is on display at National Galleries Scotland: Modern One. Visit for free from 17 December 2025.

Seven Skating Ministers! National Galleries of Scotland get their skates on to recreate iconic Skating Minister

To celebrate World Ice Skating Day today (14 December), the National Galleries of Scotland got their skates on to recreate one of the most iconic paintings from Scotland’s collection, Sir Henry Raeburn’s Skating Minister.

Teaming up with Edinburgh’s Christmas, seven skating ministers took to the ice rink on George Street to imitate the world-famous painting.

Painted around 1795, the artwork is actually named Reverend Robert Walker (1755 – 1808) Skating on Duddingston Loch, but has become fondly referred to as the Skating Minister. Since it was purchased on behalf of the people of Scotland in 1949, millions of visitors have flocked to National Galleries Scotland: National in Edinburgh to see the iconic painting on display for free.

Visit the Skating Minister at the National this Christmas to re-create the stance in front of the man himself or feel inspired to take to the ice at Edinburgh’s Christmas ice rink on George Street.

Much loved Edinburgh tradition, Turner in January, returns to the National Galleries of Scotland in 2026

Turner in January

1 January – 31 January 2026

National Galleries Scotland: National

Free admission

Turner in January | National Galleries of Scotland

Following the incredible success of last year’s blockbuster exchange with the National Gallery of Ireland, Scotland’s own much-loved Turners are back in Edinburgh for 2026!

Bring in the new year with the eagerly awaited return of Turner in January at the National Galleries of Scotland. Featuring 38 watercolours by renowned artist Joseph Mallord William Turner, the highly anticipated free annual display will take pride of place in room 21 in National Galleries Scotland: National in Edinburgh from 1 – 31 January 2026.

Last year saw thousands of visitors flocking to the National Galleries of Scotland to marvel at a once in a lifetime exchange of Turner watercolours from the Henry Vaughan Bequest with the National Gallery of Ireland, honouring the 250th anniversary of the artist’s birth. January 2026 will mark the triumphant return of Scotland’s Turners to Edinburgh, giving avid fans and newfound admirers the chance to spend time with some of the most treasured works from the Scottish national collection.

Turner in January is a beloved tradition for many people in Scotland. It signals the dawning of the New Year, and as we leave behind the darkest days of winter, the bright vitality of Turner’s work is exactly what we need.

Scotland’s famous collection of Turner watercolours was left to the nation by the great art collector Henry Vaughan in 1900. Following Vaughan’s strict guidelines, they have only ever been displayed during the month of January, when natural light levels are at their lowest. Because of this, these watercolours still possess a freshness and an intensity of colour almost 200 years since they were originally created.

This mesmerising exhibition demonstrates the extraordinary range of Turner’s work in watercolour, including atmospheric early drawings, experimental colour studies for prints and book illustrations and exhibition showstoppers.

Born in London in 1775, Turner’s combination of exceptional talent, intellectual curiosity and and relentless hard work resulted in watercolours which capture the sublime beauty of nature and encourage us to look again at the world around us.

In a career spanning 50 years, he developed new ways of painting in watercolour and revolutionised ideas of what could be achieved in the medium. Experimenting with an array of techniques and colour, Turner created works which continue to captivate and excite audiences today.

Turner in January invites visitors on an exciting, colourful journey, leaving behind January blues in favor of Turner’s views of the world, via moody landscapes, impressive city views and dramatic seascapes.

Travel across Britain, Europe and beyond through a dazzling array of artwork including scenes of the Himalayas, Venice and the Swiss Alps, to places a little closer to home, from a tempestuous view of Loch Coruisk on the Isle of Skye all the way down to serene Melrose in the Scottish Borders.

This year Turner in January will also feature the picturesque watercolour Virginia Water (about 1829), on long term loan to the National Galleries of Scotland and displayed for the first time since 2020.

The work shows a royal fishing expedition on Virginia Water, the artificial lake created as a royal pleasure ground in Windsor Great Park, with King George IV’s newly built ‘Chinese’ Fishing Temple in the background. In the foreground a pair of royal swans seem to be chasing away mallard ducks, a visual pun on Turner’s middle name.

Visitors will be able to immerse themselves further into the world of Turner through a Smartify audio highlights guide, returning for 2026.

Free to use on mobile devices, this audio guided tour will give fresh insights into the artwork on display, expanding Turner’s ideas and inspirations and adding another layer to the Turner in January experience.

Summer 2026 will also offer an additional opportunity to enjoy Turner’s work at the National Galleries of Scotland. Join us for an unmissable chance to see one of the artist’s most iconic paintings, Norham Castle, Sunrise, (c. 1845), which will be displayed for free at the National for the very first time as part of a special loan from Tate.

Charlotte Topsfield, Senior Curator of British Drawings and Prints at National Galleries of Scotland said: “After a year of celebrations for Turner’s 250th birthday and the huge excitement of the exchange with the National Gallery of Ireland in January 2025, we are so pleased to be showing Scotland’s Vaughan Turners and honouring Henry Vaughan’s bequest once again.

“We hope visitors will enjoy seeing familiar friends and find new inspiration in Turner’s glorious colour and light.”

Turner in January has been gratefully supported by the players of the People’s Postcode Lottery and the Postcode Culture Trust. Turner in January is a free National Galleries of Scotland exhibition opening to the public at 12pm on Thursday 1 January 2026.

A community group for families effected by suicide say art can be ‘empowering’ for people dealing with mental health challenges

With Friday 10 October marking World Mental Health Day, community group, Lothians Speak Their Name, have shared the ‘powerful’ effect that art has had since the passing of their loved ones.

A recent survey by the National Galleries of Scotland found that 84% of total visitors to the galleries felt their visit had a positive impact on their wellbeing.

Co-director of Lothians Speak Their Name, Sue Henderson, says she has seen and experienced first-hand the positive impact art can have on mental health.

The group, which was originally set up to create a quilt in memory of people who have died by suicide in Edinburgh and the Lothians, have been regularly visiting exhibitions and displays at the National Galleries of Scotland ever since.

Having visited for almost a year, Sue shares how it has been an incredibly valuable experience for helping the group to navigate their loss.

Sue said: “We have loved coming to the galleries so much, for some it has been powerfully beneficial.

“The tours, led by Duncan Robertson at the National Galleries of Scotland, are brilliant, for that short time it allows people to just disconnect from all the pain of their grief. It gives a moment of distraction.

“There are people in our group who never came to the gallery before, they didn’t think it was for them, but to see the impact it has on them is just incredible. Whether listening to the amazing stories of the art or just getting lost for a moment, it really can have healing powers.

“Seeing the effect it has on members of the group is so striking. One woman who lost her son to suicide, got completely lost in the art and it gave her a moment of relief from the day to day pain.

“I had never seen it be so demonstrable before, the power of art and how it can offer a distraction from the worst imaginable grief. People in the group have shared how the art can take them out of themselves and what a beautiful distraction it is.”

Art plays a significant role in enhancing mental health by providing therapeutic benefits, fostering emotional expression, and promoting overall well-being. It has been proven that art can evoke feelings of joy, nostalgia or even sadness, which can be therapeutic for individuals dealing with mental health challenges.

Over the past 20 years research on the impact of the arts on health has been growing and in 2019 the World Health Organization (WHO) published a report called ‘What is the evidence on the role of the arts in improving health and well-being?’.

The report looked at over 3000 studies from around the world which concluded that the arts play a major role in preventing and managing health. It identified the contribution that the arts may have in promoting good health and health equity, preventing illness, and treating acute and chronic conditions across the life-course.

This has launched further studies by WHO and the Jameel Arts & Health Lab in 2023 on the health benefits of the arts. As well as the Lancet Global Series Photo Essay which findings re-iterate the crucial importance of creativity within the sphere of health, and the evidence-based health benefits catalysed by imagination.

Research by the John Hopkins University School of Medicine even found that spending just 30 minutes in an art gallery once a month could extend your life expectancy by 10 years.

Siobhan McConnachie, Head of Learning and Engagement at National Galleries of Scotland said: ‘We are fortunate that we get to see the positive effect that art can have on people every single day in the gallery.

“But we know, and research shows, that art can do more than just put a smile on our faces, it can have real lasting impact on overall mental and physical health.

“We regularly welcome groups supporting people living with dementia, addiction recovery groups, health and wellbeing groups, mental health communities and so much more.

“It is important that art is considered holistically as a tool that can be used for early intervention and social prescribing in health, education and social care sectors.

“The power of art is truly incredible, and we are so delighted to have groups like Lothians Speak Their Name feel that in our galleries.’

Sue shared how the group have benefited from using art as a tool to connect with other people who are going through similar experiences. Brought together to make the memorial quilt, 49 people have made squares in memory of their loved ones, which hold the stories of their loves and lives.

As well as creating this beautiful memorial, it has brought people together as a community, where they’ve found support and friendship.

Sue added: “Our group was born out of the idea of making a quilt which remembers those we loved. Each square would represent someone in a positive way who was loved and lost, whether it included the things they loved or a fond memory of them.

“Some people in the group had never done anything like this but everyone felt how therapeutic it was to focus on something positive about their loved ones lives.

“There is something about being involved in a group activity together, whether creating the quilt or visiting the galleries. In the group everyone has experience of loss but that wasn’t the always the focus when we got together, the focus was also on creativity.

“There was never any pressure to talk about our losses. But what we found was that when everyone was distracted making their squares or looking at the art, conversations happened a lot more easily because the art was offering something else to focus on at the time.

“Often memories come with nothing but pain, but using art and creativity allowed everyone to remember the things they loved about the person, or to remember the good times.

“There are of course people who would come along, and they would never talk about their loss and that was okay too, because they still got to be in a room of people who understood what they were going through and that was support enough. They could come along and just immerse themselves in the task of creating the square.

“It was after we started making the squares that we reached out the galleries, and they offered us tours of exhibitions and displays. This just opened a whole new level of what we were doing. Some members of the group got really immersed in the visits and seeing the art offered inspiration.

“People have re-discovered their creative side and found a way to express themselves.

“Whether seeing or doing art I do believe it has a healing power. The fact we get to see the positive effect it can have on people is what I love most about this, it is an absolute privilege. So, I do really believe that art can be empowering for people dealing with mental health.”

The completed quilt has been touring around various locations in hope is that the individuals and lives it remembers will inspire viewers to start conversations about mental health and suicide and to reach out if they themselves are struggling.

It is currently one of 11 quilts on display at an exhibition in the Houses of Parliament in London.

If interested in getting involved in creating a square, please contact:

lothianspeaktheirname@gmail.com

As well as running regular tours for groups such as Lothians Speak Their Name, National Galleries of Scotland also warmly invites community groups, care homes and charities to book free visits to the galleries at a time that suits them.

Activities include guided tours of the collection and exhibitions, online art discussions, dementia-friendly sessions with specific themes, and bespoke tours tailored to the needs of each group

National Galleries of Scotland celebrate 175 years of the National gallery by revealing original plans for swimming baths under the building

Marking 175 years since Prince Albert laid the foundation stone of the National on 30 August 1850, the National Galleries of Scotland has shared its fascinating original building plans.

The National is an iconic part of the Edinburgh cityscape we know today, but the building itself could have been very different! One plan in particular by Robert. F. Gourlay from 1850 even shows underground baths and plunge pools incorporated beneath the gallery.

The drawing, held in the Historic Environment Scotland collection, shows the elevation of the terrace and plan of the basement, the same area where the National Galleries of Scotland opened the Scottish galleries at the National in September 2023.

You might be right in thinking that the condensation from swimming baths would not work well in an art gallery, but it was considered during the initial planning phase for the building.

The plan shows separate male and female plunge pools, baths and dressing rooms, as well as ‘lodgings for the keeper of the women’s and men’s baths’. The male and female areas would be separated by a 7ft wall and all the pools would be heated.

This is just one of many plans that were created ahead of the building of the National, alongside designs by the likes of Royal Scottish Academy treasurer, Thomas Hamilton. It was Scottish architect William Henry Playfair who was eventually commissioned to prepare final designs for the iconic National building we know and love today.

Playfair’s building – like its neighbour, the Royal Scottish Academy, also designed by him – was designed in the form of an ancient Greek temple. More than any other architect, Playfair was responsible for Edinburgh earning its reputation as ‘The Athens of the North’.

However, it took nearly five years to officially appoint Playfair as the architect following arguments between the members of the Board and the Royal Scottish Academy around what the building should look like.

Others also believed it shouldn’t be built at all and would only destroy the natural beauty of the city centre. During this limbo period many architects drafted their own suggestions for how they envisioned Scotland’s national gallery, including swimming baths.

Even once appointed, Playfair’s original plans differed from the building we recognise today. Originally, he set to build towers at the corners of the transverse central block, but these were abandoned during the project due to financial concerns. In fact Playfair was instructed by the Treasury to keep any kind of ornament to a minimum, because of financial stringency.

The concerns around cost weren’t the only restrictions put on Playfair’s design. He also faced town planning concerns. The council requested that Playfair ensured that the building blended into its naturally beautiful setting and did not detract from the rugged grandeur of the Castle Rock.

In fact the lack of grandeur left Lord Rutherford, a member of the Board and leading champion of the Royal Scottish Academy, to say say ‘I feel sure that the architecture of this building will be too simple and pure to captivate the multitude, but I am certain I follow the right path in what I am doing and so am content.’

150 years on the National gallery stands as an iconic building in Edinburgh’s landscape and last year certainly ‘captivated the multitude’, with a record-breaking year, welcoming nearly two million visitors.

By 1850 the Treasury were so intent on speeding up the execution of the building that Playfair was permitted to begin work before his contract drawings were completed. However, this encountered its own issues when the Board found its hand forced in the matter of the foundation ceremony.

The Lord Provost of Edinburgh, Sir William Johnstone, issued a personal invitation to Prince Albert during his presentation in London.

The Prince was incredibly keen to attend and even suggested that the Royal family would break their long journey to Balmoral at Holyrood. However, this left only a few weeks to finalise plans for the ceremony and posed a certain embarrassment since the foundations had not even been cut.

This massively expedited the process and by August 30, 1850, Edinburgh society gathered to witness the laying of the foundation stone, followed by celebrations.

The National opened nine years after the first stone was laid, with Prince Albert giving a moving speech in which he hailed the Playfair-designed building as a “temple erected to the Fine Arts”.

The building was officially opened on 24 March 1859. When the National was first opened to the public it had later opening hours on Saturday and Wednesday evenings so that working people could have the chance to view the national art collection.

The original founders of the National gallery seemed to agree with what we know now – that art can transform lives by supporting health and wellbeing, self-expression and social skills.

Anne Lyden, Director-General of the National Galleries of Scotland, said: “It is fascinating to look back on these old plans from 175 years ago and see where we started and where we are now.

“While the building stands true to its original design on the outside, we have continued to adapt inside, making Scotland’s world-class collection of art more accessible than ever before.

“We continue to hold those ideals of the original founders, that art can be transformative to people’s health and wellbeing.

“We put this at the heart of everything we do, with the galleries free-to-visit 7 days a week and ensuring we make art work for everyone.

“We also continue to grow the visitor experience at the National. In 2023 we opened the Scottish galleries at the National, transforming the visitor experience with 12 new breath-taking accessible spaces dedicated to showcasing the very best historic Scottish art.

“Whether exploring the galleries with friends, stopping off in the café, or entertaining the family with new trails, audio guides and events, there is something for everyone to discover at the National… although maybe not swimming pools!”

Be part of a Summer of Resistance!

TOMORROW: SONGS OF PROTEST WORKSHOP

TUESDAY 19 AUGUST: PHOTOMONTAGE ART WORKSHOP

ALL WELCOME!

Photomontaging Resistance Workshop and Community Lunch at Royston Wardieburn Community Centre

THURSDAY 5th & THURSDAY 19th AUGUST at RWCC

There is also a follow-up Songs of Protest workshop TOMORROW morning (Thursday 31st July) from 10 – 12.30 at North Edinburgh Arts.

Penny Stone will be introducing more protest songs before we get down to writing a few more verses for a new North Edinburgh protest song!

Art in the Open at The Pitt

FRIDAY 18th JULY 12 – 3pm

Wanna know a secret?

Our Art in the Open bike is popping up at The Pitt in Granton next Friday (18 July) and Friday 8 August!

Join us for a free workshop inspired by our Bruce McLean exhibition at Modern One, I Want My Crown.

We’ll provide all you need to get creative, and you can take your creation home at the end.

Best part? It’s totally free, just like the exhibition at Modern One

Set a reminder – we’ll see you there!

Make the most of the bank holidays at the National Galleries of Scotland

family events
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 80^th 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.

Also featured are images from Dementia Friendly Gallery Socials, artwork made by young people in Edinburgh Children’s Hospital, the ITAC Relay and Rowan Alba homeless prevention charity.