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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 undertaken for 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 and Nicolas Poussin. Students of the Nories included Jacob More whose 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), ISBN 0-19-953294-X, 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, 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 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, 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 was influenced by the Celtic revival, post-impressionism and Futurism. 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. In the post-war period the English-born Joan Eardley explored the landscapes of 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 with William Senior formed the Clyde Group, 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), ISBN 0-7486-1455-9, p. 290.〕 Among the heraldry, classical myths and allegory 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), ISBN 0-19-162433-0, 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. 1632–38). They indicate an awareness of contemporaneous Dutch landscape painting.〔D. Macmillan, ''Scottish Art, 1460–1990'' (Mainstream, 1990), ISBN 1-8515-8251-7, pp. 58–61.〕 The Flemish artist Alexander Keirincx (1600–52) was active in England and Scotland where he undertook commissions for 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.〔J. Holloway and L. Errington, ''The Discovery of Scotland: the Appreciation of Scottish Scenery Through Two Centuries of Painting'' (Edinburgh: National Gallery of Scotland, 1978), p. 1.〕 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 pastiches 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), ISBN 1-4094-2618-1, p. 153.〕 bringing to Scotland the influence of French artists such as Claude Lorrain and Nicolas Poussin. 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), ISBN 0-5002-0333-4, pp. 52–3.〕 Probably a student of the Nories was Charles Steuart (fl. 1762–90), who produced a series of Perthshire landscapes for the Duke of Atholl at Blair Castle, 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 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), ISBN 0-521-64202-7, 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",〔M. Hargraves, ''Great British Watercolors: From the Paul Mellon Collection at the Yale Center for British Art'' (Yale University Press, 2007), ISBN 0-3001-1658-6, p. 17.〕 visited Scotland as part of the military survey that followed the 1745 Jacobite rebellion and undertook a number of studies of Scottish scenes.〔R. Hewitt, ''Map Of A Nation: A Biography Of The Ordnance Survey'' (Granta Books, 2011), ISBN 1-8470-8452-4.〕 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.〔A. Wilton, ''The Great Age of British Watercolours: 1750 – 1880'' (Prestel Verlag GmbH & Company KG., 1997), ISBN 3-7913-1879-9.〕 Alexander Runciman (1736–85) 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.〔E. K. Waterhouse, ''Painting in Britain, 1530 to 1790'' (New Haven, CT: Yale University Press, 5th edn., 1994), ISBN 0-300-05833-0, p. 293.〕 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.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Landscape painting in Scotland」の詳細全文を読む スポンサード リンク
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