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.
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 100is 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 Scotlandsaid: “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 100th 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.
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.’
Take a visual journey through the history of architecture and explore the connection between people, places and photography in the National Galleries of Scotland’s new exhibition, Making Space: Photographs of Architecture.
Opening yesterday at the Portrait gallery in Edinburgh, the exhibition focuses on one of the most enduring themes in the story of photography: architecture. With over 40 photographs from the 1840s to the present day to see, Making Space is the fourth instalment in a popular series of free exhibitions which explores the richness of Scotland’s national photography collection.
Generously supported by players of People’s Postcode Lottery, and awarded funds by Postcode Culture Trust, Making Space not only considers the integral role of architecture in the history of photography, but also how buildings impact everyday life. Architecture has the power to tackle inequality, address social issues including homelessness, poverty and displacement, and even create a more sustainable future; key themes considered throughout the exhibition.
Visually engaging and physically static, buildings were the perfect subjects for early photography, with the evolving built landscape continuing to inspire photography enthusiasts today.
From the dawn of its invention to new techniques of today, Making Space spans the breadth of photographic history. The exhibition invites visitors to peer through the camera lens and uncover a diverse range of photographic styles, formats and processes.
From Hill & Adamson’s early experiments on Edinburgh’s Calton Hill to spectacular contemporary photographs which capture the breathtaking scale of modern buildings.
Standout modern works include Andreas Gursky’s San Francisco which goes on display at the Portrait for the first time since its acquisition in 1999. Deliberately disorientating, Gursky uses digital manipulation to challenge perception, with humans often appearing insignificant and dominated by their built environment.
The exhibition also features three key loans from Tate, including work by renowned photographers Bernd and Hilla Becher, Candida Höfer and Hiroshi Sugimoto.
Chris Leslie
Making Space introduces several acquisitions made by National Galleries of Scotland in recent years, including six works from Scottish photographer Chris Leslie’s Disappearing Glasgow series and a further six from Canadian born Sylvia Grace Borda’s project exploring modernist architecture in East Kilbride.
Untitled (Rosemary and Ocean) and Untitled (Sweetbriar and Atlantic) by Philadelphia based photographer Mark Havens round off the new acquisitions, with his colourful works gifted to National Galleries Scotland in 2019.
The social history of Scotland plays a central role within Making Space, with some of the earliest work providing a window into Scotland’s past, and more recent work tackling the issues of today.
Historic highlights include David Octavius Hill and Robert Adamson’s photographs from the early 1840’s, depicting the construction of Edinburgh’s Sir Walter Scott Monument. These iconic images not only record the birth of one of the Scottish capital’s most recognisable manmade features, but also provide the first known photographic documentation of a building site.
Thomas Annan
Heading west to Glasgow, Thomas Annan’s The Old Closes and Streets of Glasgow series offers a 19th century view on what could also be considered a 21st century problem – the housing crisis.
In documenting the overpopulation in the east end of the city, Annan used photography to highlight inequality and push for change. This collection of photographs is now recognised as pivotal to documentary photography, offering visitors insight into an important moment in history.
Linking historic photographs to the present day are a wide variety of contemporary works from across Scotland. Picking up where Thomas Annan left off, albeit over a century later, Leslie’s Disappearing Glasgow series documents stories from the people on the frontline of the city’s extensive demolition and regeneration programme.
Following years of decline, Glasgow’s Red Road Flats were eventually demolished in 2013, with former residents watching from the sidelines. The building’s demise and subsequent social impact have been carefully recorded by Leslie.
At the other end of the spectrum, the work of Sylvia Grace Borda tackles the evolving nature of architecture and the ways in which it can be used to improve society. Designed in 1947 and widely considered one of the most complete Modernist towns in the UK, East Kilbride was constructed to relieve pressure from an overpopulated Glasgow.
A visual record of the town was created by Borda between 2005-2017, highlighting not only the modern architecture, but the green spaces, integrated public services and homes flooded with natural light, showing what architectural design can achieve when the needs of people are at its heart.
Sir John Leighton, Director-General of the National Galleries of Scotlandsaid: “This continued series of free exhibitions at the Portrait Gallery is a fantastic way to explore the history of photography though the richness and diversity of the national collection.
“Making Space: Photographs of Architecture presents an opportunity to not only marvel in the evolution of photography, but also consider the impact our built environment has on society, health, and sustainability.
“We are proud to present several new acquisitions by contemporary photographers from Scotland and beyond, displayed for the first time alongside work by the trailblazers who inspired them.”
Laura Chow, Head of Charities at People’s Postcode Lottery, said: “Architecture impacts us in ways we don’t often realise – the built environment around us affects how we feel.
“Our players have raised over £5 million in funding for the National Galleries of Scotland. I’m delighted that this money means exhibitions like Making Space are free for everyone to enjoy and learn more about architecture and how it impacts people’s lives across Scotland.”
Making Space: Photographs of Architecture opened at the Portrait yesterday on Saturday 7 October.
The National Galleries of Scotland is delighted to announce that the stunning Scottish galleries at the National will open to the public on 30 September 2023.
The new spaces will be home to key works from the nation’s historic Scottish art collection, offering more than double the physical display space and transforming the visitor experience. With ten displays in the new galleries, and new trails and activities on offer, everyone can look forward to experiencing the national collection of historic Scottish art like never before.
The vision for the project has been driven by an ambition to ensure that the greatest number of people can enjoy key works that tell the fascinating story of Scottish art.
The new fully accessible galleries will be entered directly from the adjoining East Princes Street Gardens and are free for all to explore. Large windows will offer spectacular views over the city, enticing visitors to come in and discover the work of pioneering Scottish artists such as William McTaggart, Anne Redpath, Phoebe Anna Traquair, Charles Rennie Mackintosh and the Glasgow Boys.
Scotland’s artistic legacy will be brought to life through much-loved Scottish Colourist paintings among other major works from the first half of the twentieth century.
New ways of looking at Scotland’s built and natural environments will be on offer, with early photographs of Scotland’s capital city shown in the same spaces as grand paintings of majestic Highland landscapes.
Reimagined displays of drawings and sketches will celebrate artists such as Glasgow Style pioneer Margaret Macdonald Mackintosh and David Allan, whose depictions of ‘Edinburgh Characters’ will allow visitors to get up close to street life in the Scottish capital in the late eighteenth century.
The new Scottish galleries at the National include ten galleries at Gardens level and will be home to over 130 works of art.
These bright, attractive spaces will showcase the magnificent collection of Scottish art in a series of new and engaging presentations.
With even more to explore across the entire National, there will also be five new international hangs at the Mound level this summer, plus two additional Scottish displays, offering over 460 artworks to discover.
This includes three areas specifically designed to display drawings and other fragile artworks that will regularly change throughout the year, increasing the overall offering at the National.
Director-General of the National Galleries of Scotland, Sir John Leighton, said: “This project has been driven by an ambition to transform the experience of visiting the National and to show the extraordinary collections of Scottish art with pride in beautiful, new, light-filled spaces.
“We believe that we have created a National Gallery that is more open, engaging and inviting than ever before. Whether immersing themselves in the highly Romantic paintings of the Scottish Highlands, taking part in a family day or just enjoying the views, all are welcome to come and discover.
“We are incredibly grateful to all our funders including the Scottish Government, The National Lottery Heritage Fund, key trusts and foundations, our Patrons, American Patrons and Friends as well as the many private individuals and donors who have been so generous in supporting this project.”
Culture Minister Christina McKelvie said: “The National Galleries of Scotland has the world’s finest collection of Scottish Art and I’m delighted that the new galleries will now have space to show this off to a wide national and international public.
“We have supported this redevelopment project from the start with a significant contribution of £15.25 million and it’s wonderful to see this will open soon so the public can enjoy these new galleries.”
Chief Executive of The National Lottery Heritage Fund, Eilish McGuinness, said: “We are proud to have been part of the transformation of the National, which has been a source of inspiration and learning for over 150 years and holds a special place in the hearts of the Scottish people, and throughout the UK.
“Thanks to players of the National Lottery we have supported the project with a £6.89 million grant, from its earliest stages of planning, developing ideas and working with the team in delivering this complex and imaginative project.
“It’s exciting news that its now set to open its doors, inspiring generations to come, by offering a new perspective, doubling the gallery’s exhibition space, and improving access to its renowned collection of Scottish art. Having seen the project in its delivery I am now really looking forward to my first visit to the finished new gallery in September.”
The construction of the new galleries was one of the most complex engineering projects undertaken in a heritage building in Scotland; working within the constraints of a World Heritage site, above railways tunnels and excavating beneath a category-A listed building. Several issues were discovered when the 1970s building was fully stripped back to its core concrete structure.
These included multiple instances of undocumented asbestos deposits which required safe removal; damp and water ingress issues which substantially changed the extent of the waterproofing requirements and undocumented obstructions including remnants from previous developments, which added significant complexity to the building work.
Deeply buried layers of dense concrete had to be extracted, impacting on the sequencing of the works while managing the unique complexity of the engineering works. All these challenges were successfully overcome to create generous, high-quality new spaces for the world’s most important collection of historic Scottish art.
The total project cost is £38.62 million. This has been funded by major contributions from the Scottish Government (£15.25m) and The National Lottery Heritage Fund (£6.89 million). An extremely successful fundraising campaign raised over £16m thanks to an extraordinarily generous response in donations from trusts, foundations, Patrons, the National Galleries of Scotland’s Friends organisation, American Patrons and a wide range of private individuals.
Commenting on the success of the campaign, Sir John Leighton, said: “We are thrilled to report on the success of our fundraising campaign for this project. The strong and unwavering backing from Scottish Government and from The National Lottery Heritage Fund provided a really robust platform for our fundraising efforts and we were delighted by the generous response to this project by so many trusts, foundations and private individuals.
“We are extremely grateful to all our funders for their incredible support.”
While construction has been ongoing, a wide programme of engagement and outreach for the project has also been delivered. This has included activities in schools from Fife to Orkney and West Lothian, social groups for older people experiencing loneliness in Edinburgh, and youth groups in the Borders.
This exciting programme of activity will continue to engage with communities after the opening. A series of engaging videos about star works of art from the Scottish collection has also been produced, and a painstaking monumental conservation project gripped online audiences during lockdown.
Check out this freshly painted mural outside Fresh Start in West Pilton
National Galleries of Scotland have been working with residents and artists Fraser Gray and Eva Paredes to create this stunning artwork, inspired by the work the charity does to support the local community.
The mural is part of NGS’ work to build stronger relationships with people and organisations in North Edinburgh, where The Art Works will be based.
The mural also features some artworks inspired by the national collection – see if you can spot them!
Decades: The Art of Change 1900-1980 Opening Saturday 29 April 2023
Free
National Galleries Scotland: Modern Two
Decades: The Art of Change 1900-1980, is an exploration of the modern art scene, from 1900 through to the 1970s. See how artists have captured changes in society as you move through the free exhibition, opening at Modern Two this Saturday (29 April).
You will discover how the mood and atmosphere of the work reflects and embodies each changing decade with works that have been carefully selected to best represent the period.
Filling all of Modern Two and spread across six rooms, the journey begins at the turn of the last century, in 1900. Meet the French artists who painted with electrifying colour in the first room, with work by Henri Matisse and André Derain.
Their brightly coloured landscape paintings were so radically different that the artists were given the derogatory label ‘Fauves’ – meaning ‘wild beasts’. The term stuck and Fauvism had a major impact on British and particularly Scottish art.
Two new acquisitions, by Scottish Colourists FCB Cadell and JD Fergusson, feature in this room. JD Fergusson, who was born in Leith but lived in Paris before the First World War, was one of the key Scottish artists of the twentieth century.
Painted in 1911, Flowers and Pink Box, has bright bold colour and confident, energetic brushwork. Fergusson’s work of this time often had sexual overtones and covert erotic references. In this painting, the pink box depicted is believed to have been used to store his condoms.
This is the first still life by Fergusson to enter the national collection. The Rose and the Lacquer Screen, by FCB Cadell, combines several of his favourite still-life props: a rose in a transparent vase, a black fan and its trailing ribbon and a detail of the lacquered screen that dominated the drawing room of his house in Edinburgh’s New Town.
Moving into the 1930s, artists such as Piet Mondrian believed that abstract art could change society. This room features work by Alexander Calder, Paule Vézelay and Ben Nicholson.
Entering the 1940s, abstraction and idealism were replaced by grim realism. Paintings and sculptures by Francis Bacon, Joan Eardley and Bet Low, created during and immediately after the Second World War, speak of a new reality, reflecting the harsh times. Benno Schotz’s sculpture Lament (1943) speaks of the Holocaust while William McCance’s Atom Horizon refers to the bombing of Hiroshima.
The 1950s saw a battle between Abstraction and Realism, played out in the shadow of the Cold War and the nuclear age. This is illustrated in Decades: The Art of Change 1900-1980 by two mural projects created for the great Festival of Britain exhibition of 1951, which are shown together here for the first time.
Josef Hermann’s project shows a row of miners - builders of a new social order; Victor Pasmore’s mural project is instead a daring essay glimpse of spiralling abstract forms. The art of the 1950s reaches into the future yet seems steeped in anxiety.
The display from the 1950s also features exceptional works by Alan Davie, Louise Nevelson, Fernand Léger, Eduardo Paolozzi and Elisabeth Frink.
Art became celebratory, playful and experimental in the 1960s. Sculptors abandoned traditional materials such as bronze and marble for ‘soft sculpture’, exemplified in the work of Jann Haworth, Yayoi Kusama and Duane Hanson’s iconic Tourists.
A firm favourite with visitors to the Modern, Tourists, captures the banality of post-war, consumer society with humour and warmth. Although these two figures are presented as a couple, they were cast from life but never even met. David Hockney’s etching of two gay men in bed dates from 1967, the year in which homosexuality was legalised in England and Wales.
Throughout the 1970s, artists took Abstraction and Minimalism to extremes. Fred Sandback’s Untitled, 1971 – two coloured cords which cut across the corner of the room – questions the very notion of art as something with three-dimensional form or narrative meaning.
The Keiller Library presents a witty and original focus on the motif of the hand in Surrealist art and writing. Drawing on works by artists like Man Ray, Edith Rimmington and Salvador Dali, from the national collection’s world- class holding of Surrealist books and archive material.
From a time when the motor car was just beginning to populate the roads to the dawn of the space race, the world changed significantly in the 80-year timespan that the exhibition covers. This selection of one hundred works from the national collection shows ways in which artists have continually pushed the boundaries and created art which defines its time. These pieces still have the power to shock and make us think about our world today and the changes and innovations to come.
Scottish National Gallery of Modern Art 1 & 2, Dean Road, Edinburgh. National Galleries of Scotland.
Director-General of the National Galleries of Scotland, Sir John Leighton, said: ‘National Galleries of Scotland is delighted to reopen Modern Two with an exhibition that celebrates the strength of the national collection.
“Featuring a fascinating range of works by many of Scotland and the world’s greatest artists, Decades: The Art of Change 1900-1980 encourages visitors to think about how art can both reflect and change the way we see the world around us. We welcome you to join us on a voyage of discovery through 80 years of bold artistic achievement.’
Neil Hanna Photography
www.neilhannaphotography.co.uk
07702 246823
Simon Groom, Director of Modern & Contemporary Art, said: ‘Decades is an amazing opportunity to discover the rich range and depth of art from the national collection in the 20th century.
“Arranged by decades – starting with the beautiful paintings of Henri Matisse, Pablo Picasso, and the Scottish Colourists, the show takes us on fascinating journey to see how artists as diverse as Francis Bacon, Joan Eardley, Eduardo Paolozzi, Yayoi Kusama, Bridget Riley, David Hockney, and Joseph Beuys reflected and gave shape to our experience of the 20th century.’
National Galleries of Scotland (NGS) has acquired a vibrant painting by renowned Italian artist, Telemaco Signorini (1835–1901), with support from Art Fund.
Entitled, ‘Waverley Bridge’ (1881), the striking work depicts the recently constructed Waverley Bridge from a vantage point near its northern end. Looking south towards the junction with Market Street and Cockburn Street, the spire of St Giles’ Cathedral is silhouetted against an overcast sky at the top.
The changing faces of the city are evident, with gas lamps on the bridge and businesses – including Cumming’s Bazaar, the offices of the Edinburgh Evening News, and the Cockburn Hotel – identified by the signage on their façades.
Smoke and vapour billow up from the steam engines in the station below. The scene is enlivened by a picturesque cast of local characters going about their business, most prominently a policeman and a mother and daughter with flower-pot hats.
Signorini painted this work during a month-long visit to Edinburgh in the early summer of 1881. In his journal for this trip the artist recorded painting on Waverley Bridge on six occasions and, given its modest size, we can be fairly confident that it was painted on the spot.
Born in Florence and based there for most of his career, Signorini is perhaps the best-known and most talented of the group of mid-19th century painters known as the Macchiaioli. Other prominent members included Giuseppe Abbati, Giovanni Fattori, and Silvestro Lega.
They were united by a commitment to a realist approach to painting, often in the open air, with bold brushwork and strong contrasts of light and shade, and by their rejection of the academic tradition of artistic training.
The term ‘Macchiaioli’ derives from the word macchia, meaning spot or blot, and was coined by a critic in 1862 in mockery of the unfinished appearance of their work, but was then adopted by them.
They are in some respects the Italian equivalents of the Barbizon and Impressionist painters in France. Signorini was the most cosmopolitan of the Macchiaioli, travelling often to Paris, and was aware of artistic developments there.
Aidan Weston-Lewis, Chief Curator of European Art at National Galleries of Scotland, says: “‘We are delighted to have secured this striking and rare little painting for the collection.
“We knew that Signorini had worked in Edinburgh, but only a handful of paintings resulted from his visit and none of these has appeared on the market for decades. So, when we were offered the opportunity to acquire Waverley Bridge, we jumped at the chance. It instantly becomes the most significant painting by any of the Macchiaioli artists in a British public collection.
“We are confident that this will be a popular new addition to the collection, a perfect complement to our fine group of Impressionist paintings. It is a bustling image of modern urban life which recalls, in particular, the work of Gustave Caillebotte. The only surprise is that we are in Edinburgh rather than Paris!”
The acquisition was made possible through a generous grant from Art Fund, and the National Galleries of Scotland is once again extremely grateful for its support.
Sarah Philp, Director of Programme and Policy, Art Fund, said: “At Art Fund, we believe that artworks of cultural significance should be in public collections, available to everyone.
“And so, with the invaluable help of our members and supporters, we’re so pleased to award £70,000 to the National Galleries of Scotland for the acquisition of this wonderful painting, Signorini’s Waverley Bridge, painted during the Italian artist’s trip to Edinburgh.”
Telemaco Signorini’s ‘Waverley Bridge’ is now on permanent display and is free to view at The Scottish National Gallery, in Edinburgh,10am -5pm, Monday-Sunday.
