Thomas Warrender (fl. 1673–1713) was a Scottish artist best known for a trompe-l'oeil Still Life of a letter rack, probably painted around 1708, which is now in the collection of the Scottish National Gallery.
Floruit, abbreviated fl., Latin for "he/she flourished", denotes a date or period during which a person was known to have been alive or active. In English, the word may also be used as a noun indicating the time when someone "flourished".
The Scottish National Gallery is the national art gallery of Scotland. It is located on The Mound in central Edinburgh, close to Princes Street. The building was designed in a neoclassical style by William Henry Playfair, and first opened to the public in 1859.
Warrender mainly worked as a decorative painter, and his Still Life indicates he came from Haddington, East Lothian, Scotland and was a burgess and guild-member both in Haddington and Edinburgh.He was active in Edinburgh, seemingly participating in the political debates of the time as well as painting. He may also have taught the painter James Norie (1684-1757) whose work resembled Warrender's.
The Royal Burgh of Haddington is a town in East Lothian, Scotland. It is the main administrative, cultural and geographical centre for East Lothian, which as a result of late-nineteenth century Scottish local government reforms took the form of the county of Haddingtonshire for the period from 1889-1921. It lies about 17 miles (27 km) east of Edinburgh. The name Haddington is Anglo-Saxon, dating from the sixth or seventh century AD when the area was incorporated into the kingdom of Bernicia. The town, like the rest of the Lothian region, was ceded by King Edgar of England and became part of Scotland in the tenth century. Haddington received burghal status, one of the earliest to do so, during the reign of David I (1124–1153), giving it trading rights which encouraged its growth into a market town.
Edinburgh is the capital city of Scotland and one of its 32 council areas. Historically part of the county of Midlothian, it is located in Lothian on the Firth of Forth's southern shore.
The Still Life depicts a number of pamphlets and newspapers pinned to a board, along with writing material. It bears a strong resemblance to similar works by the Dutch artist Evert Collier. Marion Amblard suggests that Warrender would have seen work by Collier in the collections of wealthy Scots.Dror Wahrman considers it a copy of Collier, and suggests the date of the work - 1708 at the earliest based on dated printed material shown in the picture - means it was painted after Collier's last known work. The work seems to allude to contemporary political issues, such as the 1707 Act of Union between Scotland and England, symbolised by overlapping playing cards, and refers disparagingly to Roman Catholicism, by reference to the National Covenant and the dangers of popery.
Evert Collier was a Dutch Golden Age still-life painter known for vanitas and trompe-l'œil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
The Acts of Union were two Acts of Parliament: the Union with Scotland Act 1706 passed by the Parliament of England, and the Union with England Act passed in 1707 by the Parliament of Scotland. They put into effect the terms of the Treaty of Union that had been agreed on 22 July 1706, following negotiation between commissioners representing the parliaments of the two countries. By the two Acts, the Kingdom of England and the Kingdom of Scotland—which at the time were separate states with separate legislatures, but with the same monarch—were, in the words of the Treaty, "United into One Kingdom by the Name of Great Britain".
John Walter sees the work as demonstrating changes in British society from the late seventeenth century, with the increasing availability of printed material leading to growing debate in print.
John Frederick Peto was an American trompe l'oeil painter who was long forgotten until his paintings were rediscovered along with those of fellow trompe l'oeil artist William Harnett.
Sir Henry Raeburn was a British portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland.
Alexander Nasmyth was a Scottish portrait and landscape painter, a pupil of Allan Ramsay.
David Roberts RA was a Scottish painter. He is especially known for a prolific series of detailed lithograph prints of Egypt and the Near East that he produced from sketches he made during long tours of the region (1838–1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter. He was elected as a Royal Academician in 1841.
John Smibert was a Scottish American artist born in Edinburgh, Scotland, on 24 March 1688, and died in Boston, Massachusetts, British America on 2 April 1751.
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.
Sir William Allan was a distinguished Scottish historical painter known for his scenes of Russian life. He became president of the Royal Scottish Academy and was made a Royal Academician.
Dame Elizabeth Violet Blackadder, Mrs Houston, is a Scottish painter and printmaker. She is the first woman to be elected to both the Royal Scottish Academy and the Royal Academy.
Anne Redpath (1895–1965) was a Scottish artist whose vivid domestic still lifes are among her best-known works.
Alison Watt OBE FRSE RSA is a Scottish painter who first came to national attention while still at college when she won the 1987 Portrait Award at the National Portrait Gallery in London.
John Collier was an English caricaturist and satirical poet known by the pseudonym of Tim Bobbin, or Timothy Bobbin. Collier styled himself as the Lancashire Hogarth.
Joan Kathleen Harding Eardley was a British artist noted for her portraiture of street children in Glasgow and for her landscapes of the fishing village of Catterline and surroundings on the North-East coast of Scotland. One of Scotland's most enduringly popular artists, her career was cut short by breast cancer. Her artistic career had three distinct phases. The first was from 1940 when she enrolled at the Glasgow School of Art through to 1949 when she had a successful exhibition of paintings created while travelling in Italy. From 1950 to 1957, Eardley's work focused on the city of Glasgow and in particular the slum area of Townhead. In the late 1950s, while still living in Glasgow, she spent much time in Catterline before moving there permanently in 1961. During the last years of her life, seascapes and landscapes painted in and around Catterline dominated her output.
John Graham was an 18th-century Scottish painter and teacher of art.
Peter Tillemans was a Flemish painter, best known for his works on sporting and topographical subjects. Alongside John Wootton and James Seymour, he was one of the founders of the English school of sporting painting.
Scottish art in the nineteenth century is the body of visual art made in Scotland, by Scots, or about scottish subjects. This period saw the increasing professionalisation and organisation of art in Scotland. Major institutions founded in this period included the Institution for the Encouragement of the Fine Arts in Scotland, the Royal Scottish Academy of Art, the National Gallery of Scotland, the Scottish National Portrait Gallery and the Glasgow Institute. Art education in Edinburgh focused on the Trustees Drawing Academy of Edinburgh. Glasgow School of Art was founded in 1845 and Grays School of Art in Aberdeen in 1885.
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.
Evan John Walters was a Welsh artist.
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