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Beth Robertson Fiddes is a contemporary Scottish artist. Raised on Tiree and in Kingussie, [1] Robertson Fiddes graduated from the Edinburgh College of Art in 1995 with a degree in sculpture. [2] She won the 1997 Benno Schotz Award [2] and second in the 2011 Jolomo Bank of Scotland Awards for her Scottish landscape painting. [1]
John Lowrie Morrison (born 1948), expressionist oil painter of Scottish landscapes; Alberto Morrocco (1917–1998), artist; Eduardo Paolozzi (1924–2005), sculptor; James McIntosh Patrick (1907–1998), painter of landscapes and portraits; Ronald Rae (born 1946), granite sculptor and artist [2] Pat Semple (1939–2021), landscape artist
The Coffee Pot, by Samuel Peploe (1905). The first significant group of Scottish artists to emerge in the twentieth century were the Scottish Colourists in the 1920s. The name was retrospectively given to John Duncan Fergusson (1874–1961), Francis Cadell (1883–1937), Samuel Peploe (1871–1935) and Leslie Hunter (1877–1931). [2]
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He attended Glasgow School of Art, from 1967 to 1971. He was forced to make a choice between making abstract designs for fashion and landscape painting and chose the latter. While his classmates favoured pop art and abstraction, he developed an expressionist style, influenced by artists such as Kokoschka, Chagall and Soutine. [2]
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). [45]
Members included William Gillies (1898–1973), who focused on landscapes and still life, John Maxwell (1905–62) who created both landscapes and studies of imaginative subjects, Adam Bruce Thomson (1885–1976) best known for his oil and water colour landscape paintings, particularly of the Highlands and Edinburgh, [90] William Crozier (1893 ...
As this suggests, there is a strong literary element in the paintings, and in common with many other artists who were showcased by Alexander Moffat in his exhibition New Image Glasgow at the Third Eye Centre, Glasgow, in 1985, [6] one of the sources for this narrative bent in Campbell's work is the Neue Sachlichkeit artists of 1920s Germany. [20]
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