Landscape painting in Scotland includes all forms of painting of landscapes in Scotland since its origins in the sixteenth century to the present day. The earliest examples of Scottish landscape painting are in the tradition of Scottish house decoration that arose in the sixteenth century. Often said to be the earliest surviving painted landscape created in Scotland is a depiction by the Flemish artist

Alexander Keirincx Alexander KeirincxAlexander Keirincx
at the

Charles I. The capriccios of Italian and Dutch landscapes undertaken as house decoration by James Norie and his sons in the eighteenth century brought the influence of French artists such as

Claude Lorrain Claude Lorrain (; born Claude Gellée , called ''le Lorrain'' in French; traditionally just Claude in English; c. 1600 – 23 November 1682) was a French painter, draughtsman and etcher of the Baroque era. He spent most of his life in It ...

and

Nicolas Poussin Nicolas Poussin (, , ; June 1594 – 19 November 1665) was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a ...

. Students of the Nories included Jacob More, who produced Claudian-inspired landscapes. This period saw a shift in attitudes to the Highlands and mountain landscapes to interpreting them as aesthetically pleasing exemplars of nature. Watercolours were pioneered in Scotland by Paul Sandby and Alexander Runciman. Alexander Nasmyth has been described as "the founder of the Scottish landscape tradition",I. Chilvers, ed., ''The Oxford Dictionary of Art and Artists'' (Oxford: Oxford University Press, 4th edn., 2009), , p. 433. and produced both urban landscapes and rural scenes that combine Claudian principles of an ideal landscape with the reality of Scottish topography. His students included major landscape painters of the early nineteenth century such as Andrew Wilson, the watercolourist Hugh William Williams, John Thompson of Duddingston, and probably the artists that would be most directly influenced by Nasmyth, John Knox. In the Victorian era, the tradition of Highland landscape painting was continued by figures such as

Horatio McCulloch Horatio McCulloch (November 1805 – 24 June 1867), sometimes written MacCulloch or M'Culloch, was a Scottish landscape painter. Life He was born in Glasgow in November 1805 the son of Alexander McCulloch, a cotton merchant, and his wife, Ma ...

, Joseph Farquharson and William McTaggart, described as the "Scottish Impressionist". The fashion for coastal painting in the later nineteenth century led to the establishment of artist colonies in places such as Pittenweem and Crail. The first significant group of Scottish artists to emerge in the twentieth century were the Scottish Colourists in the 1920s. They were John Duncan Fergusson, Francis Cadell, Samuel Peploe and Leslie Hunter, who placed an emphasis on colour above form. The group of artists connected with Edinburgh, most of whom had studied at Edinburgh College of Art during or soon after the First World War, became known as the Edinburgh School. They were influenced by French painters and the

St. Ives School The St Ives School refers to a group of artists living and working in the Cornish town of St Ives.William Gillies, John Maxwell, William Crozier and William MacTaggart. William Johnstone was one of the artists most closely associated with the Scottish Renaissance, an attempt to introduce modernism into art and to create a distinctive national art.

Stanley Cursiter Stanley Cursiter (29 April 1887 – 22 April 1976) was an Orcadian artist who played an important role in introducing Post-impressionism and Futurism to Scotland. He served as the keeper (1919–1930), then director (1930–1948), of the Nati ...

was influenced by the Celtic revival, Post-Impressionism and

Futurism Futurism ( it, Futurismo, link=no) was an artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects such ...

. Later in his career he became a major painter of the coastline of this native Orkney. Other artists strongly influenced by modernism included James McIntosh Patrick and Edward Baird, both of whom were influenced by surrealism and the work of

Bruegel Brueghel or Bruegel () was the name of several Dutch/Flemish painters from the Brueghel family: * Pieter Bruegel the Elder (c. 1525–1569), the most famous member of the family and the only one to sign his paintings as "Bruegel" without the ''H'' ...

. In the post-war period the English-born Joan Eardley explored the landscapes of the Kincardineshire coast and created depictions of Glasgow tenements and children in the streets. Scottish artists that continued the tradition of landscape painting and joined the new generation of modernist artists of the highly influential St Ives School were Wilhelmina Barns-Graham and Margaret Mellis. Husband and wife Tom MacDonald and

Bet Low Bet Low (28 December 1924 – 2 December 2007) was a Scottish figurative and landscape painter, notable as one of the Glasgow School#The Glasgow Girls, Glasgow Girls, and as a co-founder of the Clyde Group. Life Born in Gourock, Bet Low g ...

with William Senior formed the

Clyde Group The New Scottish Group was a loose collection of artists based in Glasgow, who exhibited from 1942 to 1956. It was formed around John Duncan Fergusson after his return to Glasgow in 1939. It had its origins in the New Art Club formed in 1940, an ...

, aimed at promoting political art and producing industrial landscapes. John Bellany focused on the coastal communities of his birth. The coastal theme would also be pursued by artists such as Elizabeth Ogilvy, Joyce W. Cairns and Ian Stephen.

Origins to the eighteenth century

The earliest examples of Scottish landscape painting are in the tradition of Scottish house decoration for burgesses, lairds and lords, that arose after the Reformation in the sixteenth century, partly as a response to the loss of religious patronage.J. E. A. Dawson, ''Scotland Re-Formed, 1488–1587'' (Edinburgh: Edinburgh University Press, 2007), , p. 290. Most were of heraldry, classical myths and allegory, but there were a number of painted landscape scenes.A. Thomas, ''The Renaissance'', in T. M. Devine and J. Wormald, ''The Oxford Handbook of Modern Scottish History'' (Oxford: Oxford University Press, 2012), , pp. 198–9. These included the landscapes of four seasons in the Skelmorlie Aisle (1638) in the memorial chapel of the Montgomery family in Largs undertaken by James Stalker (

fl. ''Floruit'' (; abbreviated fl. or occasionally flor.; from Latin for "they flourished") denotes a date or period during which a person was known to have been alive or active. In English, the unabbreviated word may also be used as a noun indicatin ...

1632–38). They indicate an awareness of contemporaneous Dutch landscape painting.D. Macmillan, ''Scottish Art, 1460–1990'' (Mainstream, 1990), , pp. 58–61. The Flemish artist

Alexander Keirincx Alexander KeirincxAlexander Keirincx
at the

Charles I, mainly of royal castles in Northern England and Scotland. These included one showing Seton House (1636–37) in its landscape,Macmillan, ''Scottish Art, 1460–1990'', p. 67. which is often said to be the earliest surviving painted landscape created in Scotland. The theme of house decoration with landscapes was taken up in the eighteenth century by James Norie (1684–1757), who worked beside the architect William Adam (1689–1748). Norie, with his sons James (1711–36) and Robert (d. 1766), painted the houses of the peerage with capriccios or

pastiche A pastiche is a work of visual art, literature, theatre, music, or architecture that imitates the style or character of the work of one or more other artists. Unlike parody, pastiche pays homage to the work it imitates, rather than mocking it ...

s of Italian and Dutch landscapes,I. Baudino, "Aesthetics and Mapping the British Identity in Painting", in A. Müller and I. Karremann, ed., ''Mediating Identities in Eighteenth-Century England: Public Negotiations, Literary Discourses, Topography'' (Aldershot: Ashgate, 2011), , p. 153. bringing to Scotland the influence of French artists such as

and

. The Nories were also important figures in professionalisation of Scottish art and the development of art education.M. MacDonald, ''Scottish Art'' (London: Thames and Hudson, 2000), , pp. 52–3. JacobMoreNG 1897

Probably a student of the Nories was Charles Steuart (fl. 1762–90), who produced a series of

Perthshire Perthshire (locally: ; gd, Siorrachd Pheairt), officially the County of Perth, is a historic county and registration county in central Scotland. Geographically it extends from Strathmore in the east, to the Pass of Drumochter in the north, ...

landscapes for the Duke of Atholl at

Blair Castle Blair Castle (in Scottish Gaelic: Caisteil Bhlàir) stands in its grounds near the village of Blair Atholl in Perthshire in Scotland. It is the ancestral home of the Clan Murray, and was historically the seat of their chief, the Duke of Atholl, ...

, including ''The Black Lynn, Fall on the Brann'' (1766). Also among the students of the Nories was Jacob More, who moved to Italy from 1773 and is chiefly known as a landscape painter who created Claudian-style, classically inspired landscapes. More's series of four paintings "Falls of Clyde" (1771–73), produced before his departure to Italy, have been described by art historian Duncan Macmillan as treating the waterfalls as "a kind of natural national monument" and has been seen as an early work in developing a

romantic Romantic may refer to: Genres and eras * The Romantic era, an artistic, literary, musical and intellectual movement of the 18th and 19th centuries ** Romantic music, of that era ** Romantic poetry, of that era ** Romanticism in science, of that e ...

sensibility to the Scottish landscape. This period saw a shift in attitudes to the Highlands and mountain landscapes in general, from viewing them as hostile, empty regions occupied by a backwards and marginal people, to interpreting them as aesthetically pleasing exemplars of nature, occupied by rugged primitives, which were now depicted in a dramatic fashion.C. W. J. Withers, ''Geography, Science and National Identity: Scotland Since 1520'' (Cambridge: Cambridge University Press, 2001), , pp. 151–3. Highly influential in this process was the Scottish philosopher Archibald Alison's ''Nature and Principles of Taste'' (1790), which widened the forms of landscape seen as appropriate for painting, placing an emphasis on their historical significance and emotional impact on the painter.Macmillan, ''Scottish Art, 1460–1990'', p. 219. Paul Sandby (1731–1809), often considered the "father of British watercolour painting", visited Scotland as part of the military survey that followed the

1745 Jacobite rebellion The Jacobite rising of 1745, also known as the Forty-five Rebellion or simply the '45 ( gd, Bliadhna Theàrlaich, , ), was an attempt by Charles Edward Stuart to regain the British throne for his father, James Francis Edward Stuart. It took pl ...

and undertook a number of studies of Scottish scenes. His abandonment of traditional pen and ink drawing, using washes of colour in order to paint directly in watercolours without pen outlines, opened the way for the creation of powerful Romantic landscapes. Alexander Runciman (1736–1785) was probably the first artist to paint Scottish landscapes in watercolours in the more romantic style that was emerging towards the end of the eighteenth century. Alexander Nasmyth - Princes Street with the Commencement of the Building of the Royal Institution - Google Art Project

Alexander Nasmyth - Princes Street with the Commencement of the Building of the Royal Institution - Google Art Project

Alexander Nasmyth (1758–1840) trained in the Trustees Academy in Edinburgh under Runciman. He visited Italy, where he met with More, and worked in London, but returned to his native Edinburgh for most of his career. He produced work in a large range of forms, including his portrait of Romantic poet Robert Burns, which depicts him against a dramatic Scottish background, but he is chiefly remembered for his landscapes and is described in the ''Oxford Dictionary of Art'' as "the founder of the Scottish landscape tradition". He produced both urban landscapes, like ''Edinburgh from Caton Hill'' (1825), which put Edinburgh its geological context, and rural scenes such as ''Castle Huntly and The Tay'' (c. 1800). His works combined Claudian principles of an ideal landscape with the reality of Scottish topography.MacDonald, ''Scottish Art'', pp. 78–81.

Nineteenth century

Nasmyth was also a highly influential teacher at the Trustee's Academy in Edinburgh. Among his students were painters who took the landscape tradition into the nineteenth century. They included Andrew Wilson (1780–1840), who would become Master of the Academy in 1818, the watercolourist Hugh William Williams (1773–1829), clergyman and artist John Thompson of Duddingston (1778–1840) and probably the artist that would be most directly influenced by Nasmyth, John Knox (1778–1845).MacDonald, ''Scottish Art'', pp. 78–83. Williams' most famous work are interpretive versions of Greek landscapes, based on sketches taken on his travels there, among them ''The Temple of Poseidon, Cape Sunium'' (1828). His close friend John Thompson focused on a dark dramatic version of Scottish landscape, as in his most famous work ''Fast Castle from Below'' (1824).Macmillan, ''Scottish Art, 1460–1990'', pp. 222–5. Knox directly linked Nasmyth's style with the Romantic literature of Walter Scott. Knox's ''Landscape with Tourists at Lock Katrine'' (c. 1820), was a commentary on the tourist trade that grew up in the Trossachs in the aftermath of the publication of Scott's poem '' The Lady of the Lake'' in 1810.MacDonald, ''Scottish Art'', pp. 82–83. He was also among the first artists to take a major interest in depicting the urban landscape of Glasgow. Towards the end of his career he undertook panoramic works of the views from the top of Ben Lomond, which played a part in opening up the Highlands as a spectacle that would be taken up by artists in the second half of the century. McTaggart, The Storm

In the Victorian era, the tradition of Highland landscape painting was continued by figures such as

(1806–67), Joseph Farquharson (1846–1935) and William McTaggart (1835–1910).F. M. Szasz, ''Scots in the North American West, 1790–1917'' (Norman, OK: University of Oklahoma Press, 2000), , p. 136. McCulloch was a student of Knox.MacDonald, ''Scottish Art'', p. 104. His images of places including Glen Coe, Loch Lomond and the Trossachs, became parlour room panoramas that defined popular images of Scotland. This was helped by the Queen's declared affection for Scotland, signified by her adoption of Balmoral as a royal retreat.R. Billcliffe, ''The Glasgow Boys'' (London: Frances Lincoln, 2009), , p. 27. The wildlife around Balmoral was immortalised by English painter Edwin Landseer (1802–73) in the much copied '' Monarch of the Glen'' (1851).MacDonald, ''Scottish Art'', p. 105. In this period a Scottish "grand tour" developed with large number of English artists, including Turner, flocking to the Highlands to paint and draw. From the 1870s Farquharson was a major figure in interpreting Scottish landscapes, specialising in snowscapes and sheep, and using a mobile heated studio in order to capture the conditions from life. In the same period McTaggart emerged as the leading Scottish landscape painter. He has been compared with

John Constable John Constable (; 11 June 1776 – 31 March 1837) was an English landscape painter in the Romanticism, Romantic tradition. Born in Suffolk, he is known principally for revolutionising the genre of landscape painting with his pictures of Dedha ...

and described as the "Scottish Impressionist", with free brushwork often depicting stormy seas and moving clouds.Chilvers, ''The Oxford Dictionary of Art and Artists'', p. 376. The fashion for coastal painting in the later nineteenth century led to the establishment of artist colonies in places such as Pittenweem and Crail in Fife, Cockburnspath in the Borders, Cambuskenneth near Stirling on the River Forth and Kirkcudbright in Dumfries and Galloway. The Glasgow Boys emerged in the 1880s, rejecting much of the sentimentality of Scottish landscape painting and introducing elements of Impressionism. Key figures included W. Y. Macgregor (1855–1923), James Guthrie (1859–1930), John Lavery (1856–1941), George Henry (1858–1943) and

E. A. Walton Edward Arthur Walton (15 April 1860 in Glanderston House, Barrhead, Renfrewshire – 18 March 1922 in Edinburgh) was a Scottish painter of landscapes and portraits, associated with the Düsseldorf school of painting. Life Edward was one o ...

(1860–1922).

Twentieth century to present

The first significant group of Scottish artists to emerge in the twentieth century were the Scottish Colourists in the 1920s. The name was later given to four artists who knew each other and exhibited together, but did not form a cohesive group. All had spent time in France between 1900 and 1914Chilvers, ''The Oxford Dictionary of Art and Artists'', p. 575. and all looked for inspiration to Paris, particularly to the

Fauvists Fauvism /ˈfoʊvɪzm̩/ is the style of ''les Fauves'' ( French for "the wild beasts"), a group of early 20th-century modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values reta ...

, such as Monet, Matisse and Cézanne, whose techniques they combined with the painting traditions of Scotland. They were John Duncan Fergusson (1874–1961), Francis Cadell (1883–1937), Samuel Peploe (1871–1935) and Leslie Hunter (1877–1931). They have been described as the first Scottish modern artists and were the major mechanism by which post-impressionism reached Scotland. From 1912 Cadell visited

Iona Iona (; gd, Ì Chaluim Chille (IPA: �iːˈxaɫ̪ɯimˈçiʎə, sometimes simply ''Ì''; sco, Iona) is a small island in the Inner Hebrides, off the Ross of Mull on the western coast of Scotland. It is mainly known for Iona Abbey, though there ...

annually to paint and he was joined there by Peploe from 1920. They produced a number of works using the west-coast light and Iona landscape, particularly views of Ben More, which both painted several times. John Duncan, the arts and crafts artist, was still active in the early twentieth century and painted several landscapes similar in style to those of Cadell and Peploe.MacDonald, ''Scottish Art'', p. 162. Hunter used a vibrant palette to create notable paintings of the landscape around Balloch on Loch Lomond.MacDonald, ''Scottish Art'', pp. 163–4. Leading architect Charles Rennie Mackintosh (1868–1928) abandoned architecture for painting after World War I and created a number of landscapes, particularly of southern France. He became associated with Fergusson, who pursued also experimental landscape in the inter-war years, many of which were around his home in the Highlands, like that at ''Craigcornash'' (c. 1925). The work of Mackintosh and Fergusson has similarities to that of David Young Cameron (1865–1945) who pursued the systematic painting of the Highlands in his later years.MacDonald, ''Scottish Art'', p. 178. The group of artists connected with Edinburgh, most of whom had studied at Edinburgh College of Art during or soon after the First World War, became known as the Edinburgh School."The Edinburgh School"
Edinburgh Museums and Galleries, retrieved 10 April 2013. They were influenced by French painters and the

St. Ives School The St Ives School refers to a group of artists living and working in the Cornish town of St Ives. and their art was characterised by use of vivid and often non-naturalistic colour and the use of bold technique above form. Members included William Gillies (1898–1973), who worked in both watercolours and oils around Ardnamurchan and Morar in the 1930s, John Maxwell (1905–62) whose landscapes were influenced by mythological themes,MacDonald, ''Scottish Art'', pp. 182–3. William Crozier (1893–1930), whose landscapes were created with glowing colours and William MacTaggart (1903–81), grandson of the nineteenth-century artist, noted for his landscapes of East Lothian, France and Norway. His ''Celebration of Earth, Air, Fire and Water'' (1978) utilised the Borders' landscape in abstract form.MacDonald, ''Scottish Art'', p. 184. WilliamCrozier, Edinburgh from Salisbury Crags

WilliamCrozier, Edinburgh from Salisbury Crags

William Johnstone (1897–1981) was one of the artists most closely associated with the Scottish Renaissance, an attempt to introduce modernism into art and to create a distinctive national art. He studied cubism, surrealism and was introduced to new American art by his wife the sculptor Flora Macdonald. He moved towards abstraction, attempting to utilise aspects of landscape, poetry and Celtic art. His most significant work, ''A Point in Time'' (1929–38), has been described by art historian Duncan Macmillan as "one of the most important Scottish pictures of the century and one of the most remarkable pictures by any British painter in the period".M. Gardiner, ''Modern Scottish Culture'' (Edinburgh: Edinburgh University Press, 2005), , p. 173.

(1887–1976) was influenced by the Celtic revival, post-impressionism and

. Later in his career he became a major painter of the coastline of this native Orkney. Other artists strongly influenced by modernism included James McIntosh Patrick (1907–98) and Edward Baird (1904–49). Both trained in Glasgow, but spent most of their careers in and around their respective native cities of Dundee and Montrose. Both were influenced by surrealism and the work of

and focused on landscape, as can be seen in McIntosh Patrick's ''Traquair House'' (1938) and more overtly in Baird's ''The Birth of Venus'' (1934). In the post-war period the English-born Joan Eardley (1921–63) moved to Glasgow, where she was a graduate of the Glasgow School of Art and explored the landscapes of the Kincardineshire coast and created depictions of Glasgow tenements and children in the streets. Scottish artists that continued the tradition of landscape painting and joined the new generation of modernist artists of the highly influential St Ives School were Wilhelmina Barns-Graham (1912–2004) and Margaret Mellis (1914–2009).MacDonald, ''Scottish Art'', p. 193. Polish realist

Josef Herman Josef Herman (3 January 1911 – 19 February 2000), was a highly regarded Polish-British painter who influenced contemporary art, particularly in the United Kingdom. He was part of a generation of central and eastern European Jewish refuge ...

(1911–2000) was resident in Glasgow between 1940 and 1943Macmillan, ''Scottish Art, 1460–1990'', pp. 370–1. where he influenced husband and wife Tom MacDonald (1914–1985) and Bet Low (born 1924), who with painter William Senior (born 1927) formed the Clyde Group, aimed at promoting political art. Their work included industrial and urban landscapes such as MacDonald's ''Transport Depot'' (1944–45) and Bet Low's ''Blochairn Steelworks'' (c. 1946). John Bellany (born 1942), mainly focusing on the coastal communities of his birth, labelled "Scottish realism", was among the leading Scottish intellectuals from the 1960s.C. Richardson, ''Scottish Art Since 1960: Historical Reflections and Contemporary Overviews'' (Aldershot: Ashgate, 2011), , p. 58. Landscape has remained a major form in Scottish painting in the work of artists such as James Morrison (born 1932), Ian MacKenzie Smith (born 1935), Duncan Shanks (born 1937) and Barbara Rae (born 1943).Macmillan, ''Scottish Art, 1460–1990'', p. 400. The coastal theme would also be pursued by artists such as Elizabeth Ogilvy (born 1946), Joyce W. Cairns (born 1947) and Ian Stephen (born 1955).

References

Notes

Bibliography

* Baudino, I., "Aesthetics and Mapping the British Identity in Painting", in A. Müller and I. Karremann, ed., ''Mediating Identities in Eighteenth-Century England: Public Negotiations, Literary Discourses, Topography'' (Aldershot: Ashgate, 2011), . * Billcliffe, R., ''The Glasgow Boy''s (London: Frances Lincoln, 2009), . * Bourne, P., ''Kirkcudbright 100 Years of an Artists' Colony'' (Atelier Books, 2003), . * Chilvers, I., ed., ''The Oxford Dictionary of Art and Artists'' (Oxford: Oxford University Press, 4th edn., 2009), . * Dawson, J. E. A., ''Scotland Re-Formed, 1488–1587'' (Edinburgh: Edinburgh University Press, 2007), . * Gardiner, M., ''Modern Scottish Culture'' (Edinburgh: Edinburgh University Press, 2005), . * Hargraves, M., ''Great British Watercolors: From the Paul Mellon Collection at the Yale Center for British Art'' (Yale University Press, 2007), . * Hewitt, R., ''Map Of A Nation: A Biography Of The Ordnance Survey'' (Granta Books, 2011), . * Hill, R. J., ''Picturing Scotland Through the Waverley Novels: Walter Scott and the Origins of the Victorian Illustrated Novel'' (Aldershot: Ashgate, 2010), . * Holloway, J., and Errington, L., ''The Discovery of Scotland: the Appreciation of Scottish Scenery Through Two Centuries of Painting'' (Edinburgh: National Gallery of Scotland, 1978). * Howard, P., ''Landscapes: the Artists' Vision'' (London: Taylor & Francis, 1991), . * Kemp, D., ''The Pleasures and Treasures of Britain: A Discerning Traveller's Companion'' (Toronto: Dundurn, 1992), . * Lubbren, N., ''Rural Artists' Colonies in Europe: 1870–1910'' (Manchester University Press, 2001), . * MacDonald, M., ''Scottish Art'' (London: Thames and Hudson, 2000), . * Macmillan, D., ''Scottish Art 1460–1990'' (Edinburgh: Mainstream, 1990), . * Macmillan, D., "Culture: modern times 1914–", in M. Lynch, ed., ''Oxford Companion to Scottish History'' (Oxford: Oxford University Press, 2011), . * Macmillan, D., "Review: Painters in Parallel: William Johnstone & William Gillies", ''Scotsman.com'', 19 January 2012, retrieved 8 May 2012. * Richardson, C., ''Scottish Art Since 1960: Historical Reflections and Contemporary Overviews'' (Aldershot: Ashgate, 2011), . * Szasz, F. M., ''Scots in the North American West, 1790–1917'' (Norman, OK: University of Oklahoma Press, 2000), . * Thomas, A., "The Renaissance", in T. M. Devine and J. Wormald, ''The Oxford Handbook of Modern Scottish History'' (Oxford: Oxford University Press, 2012), . * Waterhouse, E. K., ''Painting in Britain, 1530 to 1790'' (New Haven, CT: Yale University Press, 5th edn., 1994), . * Wilton, A., ''The Great Age of British Watercolours: 1750–1880'' (Prestel Verlag GmbH & Company KG., 1997), . * Withers, C. W. J., ''Geography, Science and National Identity: Scotland Since 1520'' (Cambridge: Cambridge University Press, 2001), . {{Scottish art Scottish art Landscape paintings