Thomas Warrender (fl. 1673–1713) was a Scottish artist best known for a trompe-l'œil Still Life of a letter rack, probably painted around 1708, which is now in the collection of the Scottish National Gallery.
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 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.
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'œil painter who was long forgotten until his paintings were rediscovered along with those of fellow trompe-l'œil artist William Harnett.
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".
Marchmont is a mainly residential area of Edinburgh, Scotland. It lies roughly one mile to the south of the Old Town, separated from it by The Meadows and Bruntsfield Links. To the west it is bounded by Bruntsfield; to the south-southwest by Greenhill and then Morningside; to the south-southeast by The Grange; and to the east by Sciennes.
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.
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 to 1921. It lies about 17 miles 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.
Dame Elizabeth Violet Blackadder, Mrs Houston, was a Scottish painter and printmaker. She was 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.
The Edinburgh School refers to a group of 20th century artists connected with Edinburgh. They share a connection through Edinburgh College of Art, where most studied and worked together during or soon after the First World War. As friends and colleagues, they discussed painting and were influenced by one another's work. They were bound together as members of Edinburgh-based exhibition bodies: the Royal Scottish Academy (RSA), Society of Scottish Artists (SSA) and the Royal Scottish Society of Painters in Watercolour (RSW). They predominantly painted still life and Scottish landscapes, and shared an interest in working both in oil and watercolour.
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.
John Maitland, 1st Lord Maitland of Thirlestane, of Lethington, Knight (1581), was Lord Chancellor of Scotland.
John Michael Wright was a British portrait painter portrait painter in the Baroque style. Wright trained in Edinburgh under the Scots painter George Jamesone, and 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. He took up permanent residence in England from 1656, and served as court painter before and after the English Restoration. A convert to Roman Catholicism, he was a favourite of the restored Stuart court, a client of both Charles II and James II, and was a witness to many of the political manoeuvrings of the era. In the final years of the Stuart monarchy he returned to Rome as part of an embassy to Pope Innocent XI.
Scottish renaissance painted ceilings are decorated ceilings in Scottish houses and castles built between 1540 and 1640. This is a distinctive national style, though there is common ground with similar work elsewhere, especially in France, Spain and Scandinavia. An example in England, at Wickham, Hampshire, was recorded in 1974. There are records of over 100 examples, and a much smaller number of painted ceilings survive in-situ today. Some salvaged painted beams and boards are stored by Historic Environment Scotland. The paintings at Crathes Castle, dating from 1597 are probably the best known.
Sir James Wilsford was an English soldier and politician, who was commander at the Siege of Haddington in the war known as the Rough Wooing and also sat as Member of Parliament for Barnstaple.
Sir Richard Cockburn of Clerkington, Lord Clerkintoun (1565–1627) was a senior government official in Scotland serving as Lord Privy Seal of Scotland during the reign of James VI.
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.
Perpetua (Pip) Pope was a Scottish painter of landscapes, flower pieces and still-life compositions in both oil and watercolours, and was also an art teacher in Edinburgh.
Walter Binning, or Bynning was a painter in 16th-century Edinburgh.