Scottish art in the eighteenth century information
Scottish visual art
The intimate portrait of his second wife Margaret Lindsay by Allan Ramsay, 1758
Scottish art in the eighteenth century is the body of visual art made in Scotland, by Scots, or about Scottish subjects, in the eighteenth century. This period saw development of professionalisation, with art academies were established in Edinburgh and Glasgow. Art was increasingly influenced by Neoclassicism, the Enlightenment and towards the end of the century by Romanticism, with Italy becoming a major centre of Scottish art.
The origins of the tradition of Scottish landscape painting are in the capriccios of Italian and Dutch landscapes undertaken by James Norie and his sons. These were further developed by Jacob More, who added a romantic sensibility to the Scottish landscape. Alexander Nasmyth helped found the Scottish landscape tradition and was highly influential as a teacher in Edinburgh on the subsequent generation of artists. John Knox linked it with the Romantic, historical myth-making novels of Walter Scott and was one of the first artists to take an interest in the urban landscape of Glasgow. Aberdeen-born John Alexander and William Mossman were the leading portrait artists of the first half of the century. Allan Ramsay emerged as the leading portrait painter of the mid-century and to the royal family, noted for his intimate representations. Towards the end of the century Henry Raeburn emerged as the leading portraitist and one of the first artists to spend the majority of their career in Scotland, extending his range to leading figures of the Enlightenment and most famous for his depiction of the Skating Minister.
Neoclassicism was pioneered by Gavin Hamilton and his protégés, the brothers John and Alexander Runciman, and David Allan. Alexander Runciman pioneered historical painting and Alan helped develop genre art, both of which would be taken up by Scottish artists in the next century. After the Acts of Union in 1707 there was very little patronage for large and expensive works of art in Scotland. With the growth of civic development there was an increasing demand for public statuary and the portrait bust also became popular. Commissions of new statuary tended to be made in relatively cheap lead and even more economical painted or gilded plaster. From the late eighteenth century there are a handful of examples of work from Scottish artists.
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