Sir David Wilkie was a Scottish painter, especially known for his genre scenes. He painted successfully in a wide variety of genres, including historical scenes, portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter".
Allan Ramsay was a Scottish portrait-painter.
Gerard van Honthorst was a Dutch Golden Age painter who became known for his depiction of artificially lit scenes, eventually receiving the nickname Gherardo delle Notti. Early in his career he visited Rome, where he had great success painting in a style influenced by Caravaggio. Following his return to the Netherlands he became a leading portrait painter. Van Honthorst's contemporaries included Utrecht painters Hendrick Ter Brugghen and Dirck van Baburen.
John Smibert was a Scottish-born painter, regarded as the first academically trained artist to live and work regularly in British America.
James Tassie (1735–1799) was a Scottish gem engraver and modeller. He is remembered for a particular style of miniature medallion heads, portraying the profiles of the rich and famous of Britain, and for making and selling large numbers of "Tassie casts" of engraved gems for collectors.
George Jamesone was a Scottish painter who is regarded as Scotland's first eminent portrait-painter.
John Ritchie Findlay was a Scottish newspaper owner and philanthropist.
The Reverend Robert Walker Skating on Duddingston Loch, better known by its shorter title The Skating Minister, is a late 18th-century oil painting attributed to Henry Raeburn, now in the Scottish National Gallery in Edinburgh. Because the painting was passed down through the subject's family, it was practically unknown until 1949, but has since become one of Scotland's best-known paintings. It is considered an icon of Scottish culture, painted during the Scottish Enlightenment.
John Alexander was a Scottish painter and engraver of the 18th century. He studied in Italy under Giuseppe Bartolomeo Chiari.
Scottish art is the body of visual art made in what is now Scotland, or about Scottish subjects, since prehistoric times. It forms a distinctive tradition within European art, but the political union with England has led its partial subsumation in British art.
Arnold Bronckhorst, or Bronckorst or Van Bronckhorst was a Flemish or Dutch painter who was court painter to James VI of Scotland.
Rowland Lockey was an English painter and goldsmith, and was the son of Leonard Lockey, a crossbow maker of the parish of St Bride's, Fleet Street, London. Lockey was apprenticed to Queen Elizabeth's miniaturist and goldsmith Nicholas Hilliard for eight years beginning Michaelmas 1581 and was made a freeman or master of the Worshipful Company of Goldsmiths by 1600.
John Michael Wright was an English painter, mainly of portraits in the Baroque style. Born and raised in London, Wright trained in Edinburgh under the Scots painter George Jamesone, and sometimes described himself as Scottish in documents. He acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca and was associated with some of the leading artists of his generation. He was engaged by Archduke Leopold Wilhelm of Austria, the governor of the Spanish Netherlands, to acquire artworks in Oliver Cromwell's England in 1655.
Peter Tillemans was a Flemish painter, best known for his works on sporting and topographical subjects. Alongside John Wootton and James Seymour, Tillemans was one of the founders of the English school of sporting painting.
Adrian Vanson was a portrait artist who worked for James VI of Scotland.
Adam de Colone, or Adam Louisz. de Colonia, was a Dutch Golden Age painter active in Scotland during the reigns of James VI and I and Charles I of England.
Art in early modern Scotland includes all forms of artistic production within the modern borders of Scotland, between the adoption of the Renaissance in the early sixteenth century to the beginnings of the Enlightenment in the mid-eighteenth century.
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.
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.
Events from the year 1589 in the Kingdom of Scotland.
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