From Publishers Weekly:
Scottish painting, neglected by American art-lovers, is handsomely showcased in this robust narrative history studded with masterpieces. Containing 350 plates, most in color, the book argues for the distinct identity of Scottish art and establishes the two-way flow of artistic influence between Europe and Scotland. Macmillan, an art historian and curator at Edinburgh University, accentuates the originality and vibrancy of Scottish art from medieval royal miniatures of James IV's court to John Bellany's (b. 1942) angst-ridden mythscapes influenced by Francis Bacon. He shows why William McTaggart, whose proto-impressionist landscapes describe experience as a continuum or flux, is increasingly regarded as a great painter. From Reformation iconoclasm through romantic landscape, Victorian high drama and a new generation's explosive experimentation, Scottish artists have made major statements. The evidence here includes Anne Redpath's coloristic studies, William Dyce's mystical landscapes and William Johnstone's abstract attempts to capture the dance of time.
Copyright 1992 Reed Business Information, Inc.
From Library Journal:
Updating the last attempt at this subject, Stanley Curister's Scottish Art to the Close of the Nineteenth Century (London, 1949), this conventional historical survey brings the story of Scotland's art and artists into a new, stronger scholarly light. The author's real skill, however, is in his adoption of more modern methodologies in the exploration of a national art history. Scotland's artists have always been obscured by an emphasis placed on doings south of the border. This survey manages to provide the reader with rich examples of Scottish tradition and identity through art. Painting is covered most extensively, and while the other media seem to take a back seat, Macmillan's attention to historical context renders any quibbles minor. An important acquisition for academic and research libraries.
- Paula A. Baxter, NYPL
Copyright 1992 Reed Business Information, Inc.
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