Robert MacLaurin (born 1961) is a Scottish artist.
Robert MacLaurin was born in Scotland in 1961. [1] He studied art at Edinburgh College of Art, graduating with distinction. [2]
MacLaurin was part of a movement focused around the 369 Gallery in Edinburgh, alongside Fionna Carlisle, June Redfern, Ian Hughes, Caroline McNairn and Gwen Hardie. [3] [4] [5] Since receiving his Sir Robert Menzies Fellowship, he lives in Castlemaine, Victoria, Australia. [2]
MacLaurin's exhibitions include: [7]
Sir Henry Raeburn was a Scottish portrait painter. He served as Portrait Painter to King George IV in Scotland.
The Scottish National Portrait Gallery is an art museum on Queen Street, Edinburgh. The gallery holds the national collections of portraits, all of which are of, but not necessarily by, Scots. It also holds the Scottish National Photography Collection.
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Art in modern Scotland includes all aspects of the visual arts in the country since the beginning of the twentieth century. In the early twentieth century, the art scene was dominated by the work of the members of the Glasgow School known as the Four, led Charles Rennie Mackintosh, who gained an international reputation for their combination of Celtic revival, Art and Crafts and Art Nouveau. They were followed by the Scottish Colourists and the Edinburgh School. There was a growing interest in forms of Modernism, with William Johnstone helping to develop the concept of a Scottish Renaissance. In the post-war period, major artists, including John Bellany and Alexander Moffat, pursued a strand of "Scottish realism". Moffat's influence can be seen in the work of the "new Glasgow Boys" from the late twentieth century. In the twenty-first century Scotland has continued to produce influential artists such as Douglas Gordon and Susan Philipsz.
Portrait painting in Scotland includes all forms of painted portraiture in Scotland, from its beginnings in the early sixteenth century until the present day. The origins of the tradition of portrait painting in Scotland are in the Renaissance, particularly through contacts with the Netherlands. The first portrait of a named person that survives is that of Archbishop William Elphinstone, probably painted by a Scottish artist using Flemish techniques around 1505. Around the same period Scottish monarchs turned to the recording of royal likenesses in panel portraits, painted in oils on wood. The tradition of royal portrait painting in Scotland was probably disrupted by the minorities and regencies it underwent for much of the sixteenth century. It began to flourish after the Reformation, with paintings of royal figures and nobles by Netherlands artists Hans Eworth, Arnold Bronckorst and Adrian Vanson. A specific type of Scottish picture from this era was the "vendetta portrait", designed to keep alive the memory of an atrocity. The Union of Crowns in 1603 removed a major source of artistic patronage in Scotland as James VI and his court moved to London. The result has been seen as a shift "from crown to castle", as the nobility and local lairds became the major sources of patronage.
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