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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. The first significant Scottish portrait artist was George Jameson, who became one of the most successful painters of the reign of Charles I. He trained the Baroque artist John Michael Wright. In this period the full-length portrait in Highland dress became a common form of painting. William Aikman emerged as the leading Scottish portrait-painter of the next generation. He, like most Scottish painters of note before the late eighteenth century, migrated to London. John Alexander and William Mossman painted many of the figures of early-Enlightenment Edinburgh. Allan Ramsay established himself as a leading portrait painter to the Scottish nobility and he undertook portraits of many of the major figures of the Scottish Enlightenment. He later focused on royal portraits, anticipating the grand manner of Joshua Reynolds, but many of his early portraits, particularly of women, are less formal and more intimate. The leading portrait painter of the second half of the century was Henry Raeburn, the first significant artist to pursue his entire career in Scotland, his subjects went beyond the nobility to the middle classes. His pupils included the brothers William (Alexander), Archibald and Andrew Robertson. The former two brothers founded the Columbian Academy of Painting in New York, and Andrew was the leading Scottish miniaturist of his day. The generation of painters that followed Raeburn included David Watson, John Watson Gordon and David Wilkie who became one of the most influential British artists of the century. From the mid-nineteenth century, portrait painting, particularity the miniature, declined as an art, photography also began to have an impact on painting. Major figures who worked in portraiture and came to prominence in the second half of the century included Francis Grant, Robert Scott Lauder, William Quiller Orchardson and John Pettie. In the twentieth century the move away from figurative painting to impressionism and abstraction, speeded the decline of portrait painting. Artists who continued to pursue portraiture included Francis Cadell, Cecile Walton, Dorothy Johnstone and James Cowie. The second half of the twentieth century saw a general movement back towards figurative representation. Alexander Moffat was among the leading Scottish intellectuals from the 1960s. The artists associated with Moffat known as the "new Glasgow Boys" included Steven Campbell, Peter Howson, Ken Currie and Adrian Wisniewski. A parallel movement in Edinburgh, focused around the 369 Gallery in the city, included Caroline McNairn, Robert MacLaurin and Gwen Hardie. ==Sixteenth century== The origins of the tradition of portrait painting in Scotland are in the Renaissance, which began to reach Scotland in the fifteenth century. Portraits were given an important role in Renaissance society, valued as objects, and as depictions of earthly success and status.〔D. Piper,'' The Illustrated Library of Art'' (New York, NY: Portland House, 1986), ISBN 0-517-62336-6, p. 337.〕 In Scotland this was particularly through contacts with the Netherlands, generally considered the centre of painting in the Northern Renaissance.〔J. Wormald, ''Court, Kirk, and Community: Scotland, 1470–1625'' (Edinburgh: Edinburgh University Press, 1991), ISBN 0-7486-0276-3, pp. 57–9.〕 The products of these connections included a fine portrait of William Elphinstone (1431–1514), Lord Chancellor, Bishop of Aberdeen and founder of the university there.〔B. Webster, ''Medieval Scotland: the Making of an Identity'' (St. Martin's Press, 1997), ISBN 0-333-56761-7, pp. 127–9.〕 Painted around 1505, it is one of the earliest representations of a named Scottish subject to survive and was probably painted by a Scots artist using Flemish techniques of oil on wood.〔J. E. A. Dawson, ''Scotland Re-Formed, 1488–1587'' (Edinburgh: Edinburgh University Press, 2007), ISBN 0-7486-1455-9, pp. 55–6.〕 Around the same time, Scottish monarchs, like those in England, turned to the recording of royal likenesses in panel portraits, painted in oils on wood, perhaps as a form of political expression. As in England, the monarchy may have had model portraits of royalty used for copies and reproductions, but the versions of native royal portraits that survive are generally crude by continental standards.〔 In 1502 James IV paid for delivery of portraits of the Tudor household, perhaps by the "Inglishe payntour" named "Mynours," who stayed in Scotland to paint the king and his new bride Margaret Tudor the following year.〔R. Tittler, "Portrait, politics and society", in R. Tittler and N. Jones, eds, ''A Companion to Tudor Britain'' (Hoboken, NJ: John Wiley & Sons, 2008), ISBN 1-4051-3740-1, p. 449.〕 "Mynours" was Maynard Wewyck, a Flemish painter who usually worked for Henry VII in London.〔M. Belozerskaya, ''Rethinking the Renaissance, Burgundian Arts Across Europe'' (Cambridge 2002), ISBN 978-1-107-60544-2, p. 159 and J. W. Clark, "Notes on the tomb of Margaret Beaufort", ''Proceedings Cambridge Antiquarian Society'', 45 (1883), pp. 267–8.〕 Another Flemish painter, called "Piers", and perhaps Peeken Bovelant, an apprentice of an Antwerp painter Goswijn van der Weyden, was brought to Scotland by Andrew Halyburton, the trading agent in Middelburg, in September 1505. No details are known of his work, except his assistance in painting costumes and heraldry for tournaments, but the king gave him a salary and accommodation, and it is likely that Piers made portraits for the court. Piers returned to Flanders from Inverkeithing in July 1508. Some references in the royal accounts call him a "Frenchman".〔''Accounts of the Lord High Treasurer of Scotland'', vol. 3 (Edinburgh, 1901), p. xci, 173: M. Apted & S. Hannabuss, ''Painters in Scotland'' (Edinburgh, SRS & Edina Press, 1978), pp. 70–72: J. E. A. Dawson, ''Scotland Re-Formed, 1488–1587'' (Edinburgh, 2007), p. 59: D. Ditchburn, ''Scotland and Europe, the medieval kingdom and its contacts with Christendom, c.1214–1545'', vol. 1 (Tuckwell, East Linton, 2001), p. 119〕 The tradition of royal portrait painting in Scotland was probably disrupted by the minorities and regencies it underwent for much of the sixteenth century. In his majority James V was probably more concerned with architectural expressions of royal identity.〔 Mary Queen of Scots had been brought up in the French court, where she was drawn and painted by major European artists, but she did not commission any adult portraits, with the exception of the joint portrait with her second husband Henry Stuart, Lord Darnley. This may have reflected an historic Scottish pattern, where heraldic display, or an elaborate tomb were considered more important than a portrait.〔 Portraiture began to flourish after the Reformation in the mid-sixteenth century.〔R. Tittler, "Portrait, politics and society", in R. Tittler and N. Jones, eds, ''A Companion to Tudor Britain'' (Hoboken, NJ: John Wiley & Sons, 2008), ISBN 1-4051-3740-1, pp. 455–6.〕 There were anonymously painted portraits of important individuals, including one of James Hepburn, 4th Earl of Bothwell (1556).〔 Artists from the Low Countries remained important. Hans Eworth, who had been court painter to Mary I of England, painted a number of Scottish subjects in the 1560s. His 1561 wedding portraits were miniatures commemorating the brief marriage of the earl of Bothwell and Jean Gordon.〔 He also painted James Stewart, 1st Earl of Moray in 1561 and two years later he painted a joint portrait of the young Darnley and his brother Charles Stuart.〔E. K. Waterhouse, ''Painting in Britain: 1530 to 1790'' (Yale University Press, 5th edn., 1994), ISBN 0-300-05833-0, p. 32.〕 Lord Seton, Master of the Royal Household, commissioned two portraits in the Netherlands in the 1570s, one of himself and one a family portrait.〔 A specific type of Scottish picture from this era was the "vendetta portrait", designed to keep alive the memory of an atrocity. Examples include the ''Darnley memorial portrait'', which shows the young James VI kneeling at his murdered father's tomb, and the life-size portrait of the corpse of ''The Bonnie Earl of Moray'', vividly showing the wounds received by James Stewart, 2nd Earl of Moray when he was killed by George Gordon, 1st Marquess of Huntly in 1591.〔Waterhouse, ''Painting in Britain'', pp. 48–9.〕 There was an attempt to produce a series of portraits of Scottish kings in panel portraits, probably for the royal entry of the fifteen-year-old James VI in 1579, which are Medieval in form. In James VI's personal reign, Renaissance forms of portraiture began to dominate.〔 He employed two Flemish artists, Arnold Bronckorst in the early 1580s and Adrian Vanson from around 1584 to 1602, who have left a visual record of the king and major figures at the court.〔 However, 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.〔J. Wormald, ''Court, Kirk, and Community: Scotland, 1470–1625'' (Edinburgh: Edinburgh University Press, 1991), ISBN 0-7486-0276-3, p. 193.〕 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「Portrait painting in Scotland」の詳細全文を読む スポンサード リンク
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