National Galleries Scotland – The NEN

Festive Spotlight for Edinburgh Designers

Nearly 80 independent designers will descend on National Galleries Scotland: National in Edinburgh this month for a showcase of creative talent.

Following the success of their August markets, Tea Green Events are returning to the beautiful venue on Saturday 23 and Sunday 24 November 2024 (10am to 5pm).

The Edinburgh event will be attended by almost 30 Edinburgh-based makers including a number of graduates of Edinburgh College of Art.

Free to enter, the event marks a fitting end to the Scottish company’s record-breaking year of markets to celebrate its 10^th anniversary.

Founder, Dundee jeweller Joanne MacFadyen commented, “There is nowhere more magical than Edinburgh at Christmas and we’re absolutely thrilled to be part of the city’s offering this year, a place to buy so many beautiful, locally made products.

“Whether you’re looking for a hand-knitted jumper, bag, ceramics, jewellery or illustrations, it’s all here and all made in Scotland, much in Edinburgh itself. It’s extra special to be working within such a stunning and important location which adds so much to the experience we’re creating together.”

One of the designers preparing to showcase her work is award-winning French author and illustrator, Marie-Alice Harel of Maharel.

Based in Edinburgh, Marie-Alice designs and illustrates books for readers of all ages. Her work, mostly traditional (watercolour, pencils and ink) is regularly exhibited in galleries in the UK, the USA and France. She also teaches Book Illustration and makes artist books, ceramics and textile pieces when time allows.

Marie-Alice, who will be selling books, prints, stationery and greetings cards, said: “Art galleries are so needed, allowing people and artists like me to get close and personal with the original artworks under their roofs.

“The art that inspired me as an artist/illustrator is from the past, so museums and galleries are the way I can experience them in person. Each artist is at the end of a long line of creatives and makers, building on a heritage of skills, ideas and techniques that, purposefully or unconsciously, both nourish and push their practice further.

“There is, however, a wide divide in perception between today’s practitioners and the masters of yesterday. It’s good to see efforts to bridge that gap, with the National Galleries hosting Tea Green events and their beautiful selection of makers.

“Each creative person is at the end of one of these invisible lines, each at their own scale and in their own discipline, so it makes a lot of sense to welcome them under the same roof. You will be able to meet them this November, next to their respected predecessors (who are no doubt cheering them on silently from the museum’s walls). Some of today’s artists will grace those same walls someday.

“You might want to buy a print, a greeting card or some other carefully crafted item (a life’s work really) while they’re still alive.”

Marie-Alice’s work will beautifully complement the brand new exhibition on show at the galleries. Dürer to Van Dyck: Drawings from Chatsworth House is a spectacular group of some 50 Flemish, Dutch, Early Netherlandish, and German drawings and watercolours, spanning from about 1500 to 1700 and exhibited in Scotland for the first time.

Marie-Alice will be joined by fellow illustrator Susie Wright, who graduated from Edinburgh College of Art in 2003.

Susie, also based in Edinburgh, added, “I’ve been inspired by the artworks and spaces in the National Galleries since I was a student and made my very first screen print after a research trip drawing in and around the galleries.

“Edinburgh is also a continued source of inspiration, I love how the changing light throughout the year highlights different details and views as I walk around the city. The Tea Green markets have allowed me to meet like-minded makers and wonderfully supportive customers, which in turn has created a really lovely creative community.”

Isabella Miller, Director of Audience at National Galleries of Scotland said, ‘We are so delighted to welcome Tea Green’s winter market and all of the amazing independent designers to the National.

“We are thrilled that we can offer the beautiful surroundings of the National gallery to showcase the talents of these incredible creatives and support Scottish businesses. With the market on at the same time as our spectacular exhibition, Dürer to Van Dyck : Drawings from Chatsworth House, visitors will have the unique opportunity to discover historical drawings in the Royal Scottish Academy and then pop through to the National to explore the current works of the illustrators on offer at the event.

“We hope this will offer something a little different for our visitors to enjoy and that people can browse the stalls then explore the art. There will be something for everyone to discover during a day out at the National.”

Before the year is out, Tea Green Events markets will also be held at V&A Dundee (Friday 29 November to Sunday 1 December), Kelvingrove Art Gallery and Museum in Glasgow (Saturday 7 and Sunday 8 December) and Bowhouse in Fife (Friday 13 to Sunday 15 December 2024).

For more information about Tea Green Markets and the programme of events, visit https://www.teagreen.co.uk/

Once in a lifetime swap for Turner watercolours as Ireland’s Vaughan Bequest comes to Scotland

Turner in January: Ireland’s Vaughan Bequest

National Galleries Scotland exhibition in the Royal Scottish Academy building

1 – 31 January 2025

Admission free

Turner in January | Ireland’s Vaughan Bequest | National Galleries of Scotland

In January, National Galleries of Scotland is kicking off the 250th birthday of much-loved artist, Joseph Mallord William Turner (1775-1851), with a special celebration. From New Year’s Day, visitors to the treasured Turner in January exhibition can marvel at a new selection of over 30 watercolours that have never been seen before in Scotland, in an exchange with the National Gallery of Ireland.

Turner in January: Ireland’s Vaughan Bequest, opens at the Royal Scottish Academy building in Edinburgh on 1 January 2025. The free exhibition includes a watercolour of Edinburgh from 1801 that has never been displayed in the city before.

This once in a lifetime exhibition is a celebratory take on a keenly awaited and much-loved annual tradition that has been taking place since 1901. Renowned art collector Henry Vaughan owned over 200 drawings, watercolours and prints by Turner, which he divided in his will between galleries in Edinburgh, Dublin and London.

38 of these watercolours were given to the people of Scotland, on the condition that they are only displayed in the month of January, when light levels are at their lowest. Because of this, these works still possess a freshness and an intensity of colour, almost 200 years since they were created.

Now, in an exciting exchange, simultaneous exhibitions will see Ireland’s Vaughan Bequest make a special trip to the National Galleries of Scotland, while Scotland’s Vaughan Bequest will go on display at the National Gallery of Ireland.

Those familiar with Turner in January are sure to notice how both collections complement each other. Visitors will be able to marvel in sweeping seascapes, dramatic landscapes and spectacular cities.

The most famous British artist of the 19^th Century, Turner’s career spanned over 50 years. He experimented constantly with technique and colour, creating landscapes that still astonish today. In his younger years Turner toured Britain extensively, as war made travel to Europe impossible.

He first travelled abroad in 1802 and from 1819 onwards he undertook sketching tours abroad almost every year, visiting France, Belgium, Germany, Italy, Austria and Switzerland.

The panoramic Edinburgh from below Arthur’s Seat (1801) will be on display in the city it depicts for the first time. A moody view of Auld Reekie captured on Turner’s first visit to Edinburgh in the summer of 1801, dark storm clouds loom over Edinburgh Castle, rain pouring on the horizon as cows drink peacefully in the foreground.

When Turner first visited the Alps in 1802, the trip transformed his understanding of landscape, which was reflected in his boundary-pushing depiction of the mountains, rocks and glaciers. In The Great Fall of the Reichenbach, Switzerland (1802), Turner emphasises the sublime drama and majestic height of the 200-hundred-foot waterfall by including a tiny, ant-like figure on a rocky outcrop to indicate scale.

Both the Scottish and Irish Vaughan Bequests include expressive watercolours painted on Turner’s visit to the Aosta valley in the Alps in 1836, where the artist uses a great variety of watercolour techniques – scratching out, sponging out and working freely in wet watercolour – to depict his beloved mountains.

Venice, city of light and water, held a special fascination for Turner. His third and final visit was in August 1840, when the stormy summer weather inspired a series of tempestuous watercolours recording dramatic atmospheric effects around the city. Storm at the Mouth of the Grand Canal (1840) comes to Edinburgh from Ireland’s Vaughan Bequest.

Also on exhibition will be The Doge’s Palace and Piazzetta, Venice (1840), a golden evening view of gondolas and fishing boats clustered against the backdrop of Venice’s most celebrated buildings.

Ireland’s Vaughan Bequest includes outstanding examples of watercolours created to be engraved and published as a print series.

A highlight of the exhibition will be A Ship against the Mewstone, at the Entrance to Plymouth Sound (c.1814), from Picturesque Views on the Southern Coast of England. A Royal Navy ship is shown labouring in heavy swell at a notorious danger point on the Devon coast.

In this series, Turner aimed to record the landscape and working lives of places and people living along the south coast. In Clovelly Bay, North Devon (c.1822), another jewel-like watercolour from the same series, he shows in great detail the work of quarrying limestone.

Also on show will be A Shipwreck off Hastings (c.1825), which was probably produced for Turner’s Ports of England print series.

Turner in January: Ireland’s Vaughan Bequest truly is a first for Scotland, with most displayed in their original frames and even Henry Vaughan’s original display cabinet.

Charlotte Topsfield, exhibition curator at the National Galleries of Scotland, said: “Exchanging Vaughan Bequest Turners is an idea that Edinburgh and Dublin have been discussing for a long time.

“We are so excited to be working together on this historic swap in Turner’s anniversary year.

“It will be such a marvelous celebration for the people of Scotland to enjoy – a real once in a lifetime opportunity to commemorate a very special painter.”

Anne Hodge, exhibition curator at the National Gallery of Ireland said: “I am delighted that in January 2025 visitors to the National Galleries Scotland will be able to see Turner’s wonderfully expressive vision of a rainy Edinburgh along with all 31 watercolours that Henry Vaughan decided to leave to Dublin.

“It is a great privilege for me to have worked so closely with colleagues in Edinburgh to make this project a reality.”

Turner in January: Ireland’s Vaughan Bequest opens at the Royal Scottish Academy building on 1 January, and is free to visit.

This exhibitionhas been created in partnership with the National Gallery of Ireland. It is supported thanks to players of People’s Postcode Lottery and Sir Ewan and Lady Christine Brown.

Step back in time and celebrate 40 Years of Scotland’s Photography Collection

Celebrating 40 Years of Scotland’s Photography Collection

National Galleries Scotland: Portrait

26 October 2024 – 16 March 2025

Celebrating 40 Years of Scotland’s Photography Collection | National Galleries of Scotland

Free

This October the National Galleries of Scotland is partying like it’s 1984 with Celebrating 40 Years of Scotland’s Photography Collection, at the Portrait gallery from 26 October 2024 – 16 March 2025.

Step back in time to the 1980s when the National Galleries of Scotland officially began its world-class photography collection. Explore over 100 art works from Scotland’s national photography collection, dating from the 1840’s to the present day in this free-to-visit exhibition.

Marvel at historic photographs, visit some famous faces and discover an exciting range of what makes a photograph in this eclectic celebration of the nation’s photography collection.

Celebrating 40 Years of Scotland’s Photography Collection marks this magnificent milestone, reflecting on all that has been accomplished in the last four decades and looking to the future. In the 1980s recognition of photography as an artform was growing rapidly as museums and galleries around the world were looking to establish and grow their collections.

National Galleries of Scotland were no different. Having begun collecting photography in the late 19th century, it was in 1984 that the National Galleries of Scotland collection was formally established.

A world-renowned photography collection it is regarded as one of the best in the UK, its breadth and quality matches those of London institutions such as the V&A and National Portrait Gallery, London.

Due to its original remit to collect the very best of Scottish and international photography, the collection has developed over the last 40 years to have global reach.

Now over 55,000 artworks strong the ever-growing collection is showcased in this lively exhibition which explores the major themes, subjects and processes from throughout the history of photography.

Including works by major photographers such as Julia Margaret Cameron, Robert Mapplethorpe and Annie Leibovitz. Highlighting the enticing and universal nature of photography, the exhibition will include six themes; portraiture, landscape, documentary photography, archives, inclusion and experimentation.

Find portraits of famous Scots such as, Andy Murray, The Proclaimers, Jackie Kay and David Tennant as well as fun and vibrant portraits such as Viviane Sassen’s In Bloom.

A newly acquired work consisting of photographs, film and performance by Glasgow-based artists Beagles & Ramsay will be on display for the first time.

The Sanguis Gratia Artis (Black Pudding Self-Portrait), is a performance piece alongside photographs where the artists make black pudding out of their own blood to explore the boundaries of the self-portrait.

Celebrating the connectivity and nostalgia that photographs bring to people worldwide, the exhibition looks at how this incredible artform can be traced through generations of Scottish photographers and schools of photography.

Embracing the eclectic nature of photography, vibrant displays will create interesting contrasts and connections between historic and contemporary images.

Discover how the ideas and subject matters that started with David Octavius Hill and Robert Adamson in the 1840s continues to be photographed centuries apart with different and modern cameras.

Take pride in the influential alumni of Scottish photography schools whose connections extend around the world, making Scotland a significant home to photography.

Explore the idea of what makes a photograph, reflecting on changing technology and taking a look at artists who are pushing the boundaries of what we might have traditionally thought of as a photograph.

Get a deeper understanding of how photographers have explored the themes of landscape and environment change including a new acquisition by American, Sant Khalsa combining photography and sculpture.

Displayed alongside early Scottish photographs by John Muir Wood, showcasing the beautiful shapes created by trees. This offers a fascinating look at how these two artists explore the same subject matter in completely different ways.

Discover works by revered international photographers, with exceptional photographs from the ARTIST ROOMS collection, jointly owned by the National Galleries of Scotland and Tate.

The exhibition draws a selection of works by globally renowned artists, such as Robert Mapplethorpe and Diane Arbus.

This will also be the first time the National Galleries of Scotland has shown work from the ARTIST ROOMS collection by Don McCullin, one of the world’s greatest photojournalists.

Scotland is known as a centre for documentary photography and the exhibition will celebrate this with a medley of the best documentary photographers who have made work in Scotland.

Weaving in some old favourites and new acquisitions this will highlight photographers such as Alfred Eisenstaedt, Eve Arnold, David Hurn, Joseph Mackenzie and Bert Hardy.

A wall of Hill & Adamson’s fisherwomen will mark an important moment in the development of documentary photography not just in Scotland but in the history of the medium.

In the years immediately following its establishment, National Galleries of Scotland received a number of significant bequests which quickly grew the collection.

The exhibition will explore some of these major archives, such as The Riddell collection which joined the collection in 1985, ARTIST ROOMS, established in 2008 and jointly owned by the National Galleries of Scotland and Tate, and the MacKinnon Collection that was jointly acquired with the National Library of Scotland in 2018.

Throughout the decades, the collection continues to grow and each year new additions are made, with an increasing focus on equality, diversity and inclusion.

Looking to the next 40 years, the exhibition also focuses on acquisitions from the last decade which address issues such as equality, inclusion and diversity.

National Galleries of Scotland actively seek opportunities to broaden representation across the collection and the exhibition highlights this as a priority area for collecting in the future.

Representation of female photographers has been a recent priority, with work by artists including Chrystel Lebas, Wendy McMurdo, Chloe Dewe Mathews and Arpita Shah entering the collection.

Anne Lyden, Director-General at the National Galleries of Scotland, said: ‘Photography is a cornerstone of the National Galleries of Scotland, accounting for almost half of the entire collection.

” It is with great delight that we celebrate the medium with this impressive and engaging exhibition drawn entirely from the vast holdings of the nation’s collection.

“Over the course of the last forty years many photographers, collectors, donors, curators, and enthusiasts have contributed to this important world-class collection which belongs to the people of Scotland.

“We are excited to celebrate this anniversary with our visitors through such a dynamic display.’

Louise Pearson, Photography Curator at the National Galleries of Scotland, said: ‘The 40th anniversary is the perfect moment to draw from the full breadth of Scotland’s photography collection.

“This vibrant and fun exhibition includes photographs of famous Scots and works by photographers who have become household names. It opens many possibilities in making connections across our country’s photography collection, sharing highlights as well as celebrating lesser-known works.

“We want visitors to join us in celebrating the collection and take pride in Scotland’s contribution to photography worldwide.’

This exhibition is funded by The Morton Charitable Trust and the players of the People’s Postcode Lottery.

Edinburgh Fringe Showcase for Local Creatives

Nearly 80 independent designers will descend on National Galleries Scotland: National in Edinburgh this weekend for a showcase of creative talent.

In what is their debut capital city event, Tea Green Events are holding their first ever market at the beautiful venue from Friday 23 to Sunday 25 August, returning with their festive market in November.

The markets’ arrival in Edinburgh is a fitting end to the Scottish company’s record-breaking run of summer markets to celebrate their 10^th anniversary. Markets have also been held at Aberdeen Art Gallery, The Burrell Collection and Kelvingrove Art Gallery and Museum in Glasgow, V&A Dundee and Bowhouse in Fife.

Specialising in carefully curated markets within some of Scotland’s most stunning creative spaces, Tea Green Events was launched by Dundee jeweller Joanne MacFadyen who is holding a record 20 markets across Scotland this year, driven by increased demand from independent makers and the public.

Joanne said, “Our arrival at the National in Edinburgh represents a huge milestone for Tea Green Events and is a fitting finale to end our biggest ever summer run of markets which have been absolutely amazing.

“It’s extra special to be working within such a prestigious space in a superb location, a prospect I know the artists and designers are just as excited by.

“Because of the huge number of tourists visiting Edinburgh at this time, it’s a real privilege to be showcasing the very best of Scottish craftsmanship, beautiful hand-crafted pieces of work made by some truly talented individuals.

“We’ll have everything from jewellery and prints to knitwear, letterpress stationery and ceramics, truly something for everyone!”

One of the designers preparing to set out her stall is Fiona McIntosh of Edinburgh-based Tessuti Scotland, who makes a range of hand-dyed and silk-screened accessories.

Fiona, who launched her business in 1985, said, “I’ve been involved with Tea Green right from the beginning and, although I used to exhibit in London, the Tea Green markets have replaced the need to do that. In fact, they have become my main platform for face-to-face selling.

“When you work alone, it’s always brilliant to get out there and meet new people. It also reminds you why you do what you do! As well as positioning me in front of my target audience, they’re a great way to make new business connections and meet other creatives including local stockists who are looking for new lines to sell in their shops.”

Meanwhile, Jo Walker of Jo Walker Ceramics, who originally studied jewellery design at Edinburgh College of Art, added, “Tea Green markets have made a huge difference to the way craft is portrayed in Scotland.

“In the past, art and craft have been viewed as two distinct things, with art on a pedestal and craft seen as something you tinker away with at a kitchen table. The markets have boosted the status of craft and elevated it to a presence it deserves.

“People are starting to see how much goes into making things, how much skill is involved.”

Isabella Miller, Director of Audience at National Galleries of Scotland said, “We are so excited to welcome the Tea Green’s Summer Market and all of the amazing independent designers to the National.

“We are thrilled that we can offer the beautiful surroundings of the National gallery to showcase the talents of these incredible creatives and support Scottish businesses.

“We hope this will offer something a little different for our visitors to enjoy and that people will pop in to browse the stalls then explore the art. There will be something for everyone to discover during a day out at the National!”

For more information about Tea Green Markets and the programme of events, visit https://www.teagreen.co.uk/

World-renowned painting by John Singer Sargent comes home to Edinburgh

One of the most celebrated paintings by world-renowned artist John Singer Sargent (1856 –1925) – Lady Agnew of Lochnaw (1864 – 32) – is welcomed home to National Galleries Scotland: National. The much-loved painting is back on display and free to visit now.

With the painting’s exciting arrival back in Edinburgh also comes a name change for this landmark portrait. The painting was on a major international tour as one of the star attractions of the Sargent and Fashion exhibition at the Museum of Fine Arts Boston and Tate Britain, London.

Following its return, the portrait has been given a fuller name – Gertrude Vernon, Lady Agnew of Lochnaw (1864 – 1932). By including her first name, this fascinating sitter can finally be recognised as an individual in her own right, beyond her status as the wife of Baronet Andrew Noel Agnew of Lochnaw.

National Galleries of Scotland is about to release a new book on the painting on 23 September, which is available to pre-order now at Lady Agnew: A Painting by John Singer Sargent (paperback) (nationalgalleries.org).

Sargent’s dazzling and unforgettable image of Gertrude Vernon is one of the most instantly recognisable portraits of fashionable London society.

For both the artist and his sitter, the painting was an instant success, reviving Sargent’s reputation as the portrait painter of choice for the London elite and immediately transforming the newly elevated Gertrude Vernon into a society celebrity.

Sargent’s image of Gertrude Vernon helped her to become a leading light in fashionable circles, holding lavish salons in her London home. Ironically, the high costs of this hospitality meant that she was eventually forced to sell some family pictures including this portrait which was purchased by National Galleries of Scotland, after Sargent’s death, in 1925.

The confident gaze and relaxed posture of Gertrude Vernon was unusual in contemporary portraiture. The spontaneous feel of the image was enhanced further by the fluid and sweeping brushwork.

More conventional portraits of respectable women had the sitters gazing downward, off to the side, or upon another person or object in the painting. To have a lady sit and stare at the viewer was unconventional, but it was enthusiastically received as bold and beautiful.

Gertrude Vernon was around 26 at the time of the painting and is believed to have walked into the studio one day and slumped herself down in the chair. Sargent liked to capture the most naturalistic pose for his sitters and so he decided to paint her portrait exactly as she appeared that day.

The exact circumstances behind the commission are not known, but the Agnews may have met the artist through mutual American friends. According to notes in her husband’s diary, work on the portrait progressed swiftly, and Sargent later recalled that it was painted in just 6 sittings.

Gertrude Vernon is shown seated in a Louis XVI chair against the backdrop of a Chinese silk hanging, both of which were standard props in Sargent’s studio.

She is reported to have been of frail health; she recovered slowly from a severe bout of influenza in 1890 and was apparently still suffering from exhaustion when she sat for Sargent. There are brilliant passages of painting in the highlights, reflections and coloured shadows that show Sargent at his best as a painter of surfaces and textures.

Sargent was born in Florence and spent his childhood travelling across Europe with his wealthy American parents who restlessly followed the changing social seasons. In 1874 he entered the Paris studio of the stylish French portraitist, Carolus-Duran.

The young Sargent combined the flamboyant style of his teacher with his study of old masters such as Rembrandt and Velázquez but was also influenced by Monet and Impressionism.

His provocative and unconventional Portrait of Madame X caused a scandal at the Paris Salon exhibition in 1884; and, when Sargent settled in London in 1886, he initially found it difficult to find clients. However, his dashing technical mastery and confident manner were ideally suited for aristocratic patronage, and he soon won over his critics with his elegant, flattering portraits.

When his portrait of Gertrude Vernon was shown at the Royal Academy in 1893, one contemporary observed: ‘London is at his feet … he has had a cracking success.’

Dr Patricia Allerston, Deputy Director & Chief Curator of European & Scottish Art, National Galleries of Scotland said: “This fascinating painting is a favourite for many visitors, and we are delighted to have it back on display at the National.

“Sargent’s compelling portrait presents Lady Agnew as a real person with a very distinctive personality. Our aim in adjusting the portrait’s title is to give visitors a bit more information about this intriguing sitter.’

Free to visit: Gertrude Vernon, Lady Agnew of Lochnaw (1864-1932) by John Singer Sargent | NGS CMS 2022 (nationalgalleries.org)

Volunteer opportunities in Granton Art Centre (NGS)

National Galleries Scotland are recruiting volunteers to help with our upcoming events that will take place in the Granton Art Centre.

We are prioritising volunteers based in the area as we are looking to support local people and help connect them with the community. You can find more information in the link below:

https://volunteer.nationalgalleries.org/opportunities/67344-granton-art-centre-volunteer-2024-06-05

We need your help in providing a warm welcome for community groups and visitors to Granton Art Centre, where we house many artworks from the National Galleries of Scotland’s collection.

With your help we can support audiences, in particular groups from North Edinburgh, to feel more connected to the collection and National Galleries of Scotland.

Your role:

You will be supporting the GAC team – led by our Store Manager, Holly – as well as freelance artists and educators who lead tours, events and activities to ensure community groups and visitors have a positive and memorable experience.

This opportunity supports National Galleries of Scotland with its community development programme in North Edinburgh, building relationships for The Art Works – National Galleries of Scotland’s future project in Granton to deliver a community centred and sustainable new facility for Scotland’s collection of art.

What is the Granton Art Centre:

Granton Art Centre is Scotland’s first purpose-built art store for paintings, drawings and sculptures from the national collection. It provides 1,300 square metres of secure and climate-controlled storage space.

It is a living archive, full of potential inspiration for community groups, artists, researchers, schools, and individuals where visitors can see artworks up close.

In the future, Granton Art Centre will eventually exist as The Art Works.

How to apply:

Easiest way to apply is online through the button on the right. You will be asked to provide some basic information about you, along with why you would like to volunteer in this role. You will also be asked for two referees, ideally one of them should be work/education/volunteering related and the other personal.
Alternatively you can email us at volunteer@nationalgalleries.org or call us 0131 624 6266

We are looking to recruit a team of 4 – 5 volunteers each contributing about 2hrs per month

PLEASE SUBMIT YOUR APPLICATION BY THE END OF JULY

Through this opportunity we aim to support local people and help connect them with the community. As such, priority will be given to applications from local residents (EH5 postcode).

Double the treasure with two Vermeers in Edinburgh this summer

National Treasures | Vermeer in Edinburgh  
National Galleries Scotland: National  
Friday 10 May – Sunday 8 September 2024  
Free  

National Treasures | Vermeer in Edinburgh | National Galleries of Scotland

For the first time ever in Scotland, this summer visitors to National Galleries Scotland: National in Edinburgh can enjoy two paintings by world-famous artist Johannes Vermeer.

The free display, which opened on Friday (10 May) as part of the National Treasures celebration, will see A Young Woman Standing at a Virginal coming to Scotland from the National Gallery in London. The stunning artwork will be shown alongside Scotland’s own Vermeer, Christ in the House of Martha and Mary, one of the much-loved artist’s earliest paintings.

National Treasures marks the bicentenary of the National Gallery in London, with 12 of their most iconic paintings being lent to partners across the UK. This is also the first time ever that A Young Woman Standing at a Virginal has been on show in Scotland, presenting a unique, free opportunity for locals and visitors to Edinburgh this summer.

With only some 36 known works in the world by Vermeer, the National Galleries of Scotland is one of only 18 galleries worldwide to hold one in their collection and Christ in the House of Martha and Mary is the only Vermeer in a Scottish collection. National Treasures | Vermeer in Edinburgh presents a remarkable chance to compare a later Vermeer work with one of the artist’s earliest surviving paintings.

One of the most renowned artists in the world, Johannes Vermeer’s works have achieved iconic status, in part due to their scarcity. His early paintings differ greatly in subject matter to his later works, as the artist moved from painting history to capturing everyday scenes. Nearly all Vermeer’s works depict young women in calm, orderly domestic interiors, often playing musical instruments.

The work, Christ in the House of Martha and Mary, from about 1654 – 1655, is his largest and his only known work of a biblical subject. It depicts Christ’s visit to the sisters’ house, as written in Saint Luke’s Gospel.

In the picture, Martha complains that she is doing all the work while Maria is idling at Christ’s feet, however, Christ addresses Martha and praises Maria’s eagerness to listen to him. Given the unusual size and subject-matter it is likely that the painting was a specific commission, created by request.  

The delicate, much smaller, A Young Woman Standing at a Virginal, from about 1670–2, depicts the subject standing with her hands on a keyboard, her head turned towards the viewer, holding our eye with a direct gaze.

She seems caught in a moment of expectation and uncertainty. Perhaps we have interrupted her playing, or maybe she is waiting for us so she can start. Maybe the empty chair in the foreground is significant: is she waiting for someone else?

The large painting on the wall behind her of a naked Cupid, the god of love, may help us to understand more. It seems to be a signal that this is not just a scene of music making, but that the woman is waiting for her lover.

For National Treasures | Vermeer in Edinburgh, A Young Woman Standing at a Virginal and Christ in the House of Martha and Mary will be on display amongst the National’s superb collection of Dutch and Flemish paintings. Visitors will also be able to enjoy the fascinating juxtaposition of his earliest work with the London later work until Sunday 8 September.  

National Galleries of Scotland, Director-General, Anne Lyden, said:  ”It is so exciting to be able to exhibit two Vermeer paintings, never seen in Scotland together before, alongside our wonderful collection.

“What a fantastic opportunity for visitors to the National this summer to see these two rare works at the same time. We would like to say congratulations to the National Gallery in London on their bicentenary and are thrilled to be a part of their fantastic programme of celebrations.”

National Treasures is a key strand of the programme celebrating the National Gallery in London’s bicentenary. 12 of the nation’s most well-known paintings are being lent to 12 venues across the UK. Paintings including, Constable’s The Hay Wain, Turner’s Fighting Temeraire and Monet’s The Water-Lily Pond will each travel to a regional centre such as Bristol, Newcastle and York. Each of the partners is set to mark the national treasure’s stay by organising events, exhibitions and digital interventions to showcase their works.  

Alexandra Kavanagh, Head of National Touring at the National Gallery, London, said, “We are delighted to be partnering with the National in Edinburgh – it’s been so terrific seeing how our painting can have a dialogue with the wonderful Vermeer in their own collection.

“It’s brilliant to work with the National Galleries of Scotland and find new ways to collaborate and mutually support one another, bringing art to the public and caring for nationally significant collections.”

All National Treasures displays will open simultaneously on 10 May 2024, the 200th anniversary of the National Gallery’s opening in London, enabling people from all over the country to see, up close, some of the greatest works in the history of Western art. For the duration of the displays, 35 million people – more than half the UK population – will be within an hour’s journey of a National Gallery masterpiece.  

Leith legends team up!

Leith Athletic Football Club girls team netted a visit to Paolozzi at 100 at National Galleries Scotland: Modern Two this weekend.

Celebrating the 100th birthday of Leith artist Eduardo Paolozzi the free exhibition has taken over two rooms on the ground floor of the Edinburgh gallery.

All kitted out in their brand-new Paolozzi shirts, a tribute to the man himself, the Leith team marvelled in 60 works including prints, tapestries, collages and sculptures.

There’s no substitute for Paolozzi!

About Paolozzi at 100

National Galleries Scotland: Modern Two

Open now till 21 April 2024

Admission Free

Paolozzi at 100 | National Galleries of Scotland

Celebrate 100 years of Scottish art icon Eduardo Paolozzi at National Galleries Scotland: Modern Two

Paolozzi at 100

National Galleries Scotland: Modern Two

27 January – 21 April 2024

Admission Free

Paolozzi at 100 | National Galleries of Scotland

Visit the National Galleries of Scotland to mark the centenary of the birth of one of Scotland’s most well-known artists, Eduardo Paolozzi. Opening on Saturday (27 January), Paolozzi at 100 is a tribute to the father of Pop Art.

Taking over the ground floor of Modern Two in Edinburgh, this free exhibition takes visitors on a journey through some of Paolozzi’s most popular artworks, including his collages, prints, textiles, ceramics and sculptures.

Of Italian descent, Paolozzi was born in Leith in 1924, and is a much-loved son of the city. He studied in Edinburgh and London before spending two years in Paris. There, he produced enigmatic, bronze sculptures and Dada and Surrealist-inspired collages that combined magazine advertisements with cartoons and machine parts.

Returning to London to teach at several art schools, Paolozzi continued to develop his printmaking and sculpture techniques, with a particular interest in the mass media and in science and technology, developing a style that would become known as Pop Art. Paolozzi was knighted in 1989 and gifted a major bequest of his works to the National Galleries of Scotland in 1995.

In Paolozzi at 100 at Modern Two, visitors can explore 60 vibrant artworks across two rooms and a special display in the Keiller Library.

Discover the colourful life of a cultural icon through a selection of works drawn from Scotland’s national collection. The exhibition begins with the years following Paolozzi’s first visit to Paris in 1947 and travels through his life. Learn about his eclectic take on popular culture and the machine age.

Examine the highly detailed Mickey tapestry made with Dovecot Tapestry Studio and marvel in vibrant graphic and gold ceramic plate collaborations designed for Wedgwood. Don’t miss the kinetic energy of the Calcium Light Night and Moonstrip Empire News screenprints.

Complete the tour with a look into Paolozzi’s epic public art projects, including the vibrant mosaics designed for Tottenham Court Road Underground Station. In the Penrose Gallery, a large projection will focus on Paolozzi’s 1971 collaboration with fashion house, Lanvin.

All this can be seen alongside the recreation of Paolozzi’s London art studio, the towering Vulcan and the Cleish Castle Ceiling Panels, all permanently on display at Modern Two for visitors to enjoy all year round.

Indulge in a coffee at Paolozzi’s Kitchen, named in tribute to the artist himself, then take a stroll through the grounds and see if you can spot Paolozzi’s imposing sculpture Master of the Universe. Visitors can also delve deeper into the artworks with an eight stop free audioguide on Smartify.

Anne Lyden, Director-General at the National Galleries of Scotland said: “Eduardo Paolozzi is one of Scotland’s best-known artists and was an Edinburgh icon. His powerful influence can still be seen across the city today in everything from sculptures and architecture to fashion to food and drink brands.

“The National Galleries of Scotland is delighted to be celebrating his 100^th birthday with an exhibition that brings together 60 key Paolozzi works from Scotland’s national collection. We hope everyone will take the opportunity to enjoy this free glimpse into the phenomenal art that is Paolozzi at 100.”

Paolozzi at 100 opens at National Galleries Scotland: Modern Two on Saturday 27 January 2024.

Join us and discover how high art became part of the everyday; from towering sculptures and chaotic prints to luxurious textiles and iconic collages, it’s time to celebrate the city’s favourite artist in style.

National Galleries receives planning approval for ‘transformational’ North Edinburgh development

GREEN LIGHT FOR THE ART WORKS IN GRANTON

The City of Edinburgh Council has granted planning permission for the National Galleries of Scotland’s exciting new community space, conservation, research and art storage facility in the heart of Granton.

The Art Works will form part of the wider regeneration of the Granton area, and will be located on a brown field site west of Madelvic House on Granton Park Avenue, within one of Scotland’s most diverse yet socioeconomically deprived areas.

The state of the art facility is designed with an innovative dual purpose, that goes beyond traditional art storage. While it will hold Scotland’s renowned art collection, it aims to make it more accessible than ever before to explore the nations art.

The Art Works will also contribute to the wellbeing and investment in the local area, offering community spaces for use by local residents, community groups and the wider public, all under one roof.

Offering an additional 11,000m² of quality space – the equivalent of two playing fields – the facility aims to make a major contribution to enhancing the local community for the long term.

The Art Works will be a world-class home for more than 120,000 works of art to be stored, cared for, conserved, and researched, while not on display in a gallery.

Storing Scotland’s extraordinary national collection in a completely new way, the public will be able to explore, discover, and engage with the art like never before. The building will also be a key focal point for community investment, pride and growth.

Inside there will be spaces for public use, including social areas and amenities for visitors’ comfort and enjoyment, such as a community studio, community support space, further education rooms and a Changing Places toilet.

This will be the only Changing Places facility available in the Granton area, and opens up the spaces for even more people to visit. These specially designed toilets enable those who need extra equipment and space to use the toilets safely and comfortably.

Sustainability is central to the National Gallery of Scotland’s vision for The Art Works. The plans include sustainable building practices which minimise energy impact and provide quality of life opportunities for the local community.

As the country’s largest cultural building designed to the Passivhaus standard, it will go beyond what is required by the Scottish Building Standards. It will be climate resilient and decarbonise the care of the nations collection.

Alongside enabling the National Galleries of Scotland to develop a vastly improved digital offering, the purpose-built facility will deliver a modern environment in which members of the public, colleagues, students and researchers can engage with the art stored there.

The historic collection of the Royal Scottish Academy will also be housed in the new building and it will also be home to the Demarco Archive. Outside, there will be activity areas that bring the natural environment to life, including new green routes through to Granton Waterfront.

Accessible to all, The Art Works will attract and inspire local visitors and communities right through to specialist researchers in Scotland and from across the world.

Several projects with local partners are underway, with completed projects including a collaboration with local charities and social enterprises to make 1000 art-themed face coverings for local people and visits for nursery groups to enjoy the community orchard which is currently on part of the site.

Previously known as the National Collection Facility, proposals for a building of this kind have been in the early stages of concept development since 2015. Now known as The Art Works, the project aims to bring Scotland’s vast and extraordinary national art collection into a single, future-proofed location.

The national collection is currently stored across several sites where access and space are extremely limited, logistics are difficult, and conditions are suboptimal for enabling the full potential for public access, conservation and research to be realised. It also means it can be challenging for works to be made available for display and loan.

The Art Works will be instrumental in addressing these issues, enabling much greater access to and engagement with Scotland’s incredible collection of art treasures. The facility safeguards the future of this publicly owned, renowned national collection.

Sir John Leighton, Director-General of the National Galleries of Scotland, said: ‘We are delighted to have received planning permission for The Art Works. We are committed to continuing work with the Council and other strategic partners to play our part in shaping and informing the development of north Edinburgh.

“Our project has the potential to be a huge catalyst for change in the local community and at national levels. The Art Works will allow National Galleries of Scotland to share its collection much more effectively across the nation and to bring the benefits of art and culture to the widest possible audience.’

Further information can be found at www.nationalgalleries.org/theartworks