The Watson Gordon Lecture 2006
Roger Fry's Journey:
From the Primitives to the Post-Impressionists
National Galleries of Scotland and University of Edinburgh, 2008
48pp | Hardback | 18 colour illustrations
Established following the 125th anniversary of the foundation of the Chair of Fine Art at the University of Edinburgh and named after the painter Sir John Watson Gordon, the Watson Gordon Lectures typify the long-standing and positive collaboration between the University of Edinburgh and the National Galleries of Scotland: two partners in the Visual Arts Research Institute, Edinburgh.
This lecture, the first in the series to be published, was given by Caroline Elam, an eminant scholar of the Italian Renaissance and former editor of the Burlington Magazine. Her illuminating lecture links Roger Fry's analysis of the paintings of Seurat with his deep understanding of Italian Renaissance art, and explores the connections between his taste for the Post-Impressionists and his love of the early Italians.
This publication is for sale in the National Galleries of Scotland's shops (not yet online).
Monet and French Landscape
Vétheuil and Normandy
Edited by Frances Fowle
National Galleries of Scotland, 2006
176pp | Paperback | 47 illustrations (31 colour)
Claude Monet underwent a crucial period of transition during the period from 1878 to 1883, when he moved from Vétheuil to Giverny. He rethought his earlier emphasis on modernity and developed his skills as a painter of pure landscape, culminating in the experimental works he produced on the Normandy coast in the early and mid-1880s.
This collection of essays looks in depth at the political, economic, scientific, religious and art historical context for this complex and often contradictory period in Monet’s life. The essays were generated at a conference inspired by the exhibition Monet: the Seine and the Sea 1878 - 1883, held by the National Galleries of Scotland in the Royal Scottish Academy Building, Edinburgh, in the summer of 2003.
In collaboration with VARIE, the exhibition was co-curated by Michael Clarke and Professor Richard Thomson, who demonstrated in both catalogue and exhibition that this relatively under-researched period in Monet’s life represented a crossroads in his career.
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