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Violet Jacob (1 September 1863 – 9 September 1946) was a Scottish writer known especially for her historical novel Flemington and for her poetry, mainly in Scots. She was described by a fellow Scottish poet Hugh MacDiarmid as "the most considerable of contemporary vernacular poets".
Banks was a regular exhibitor with the Royal Scottish Academy, the Royal Scottish Society of Painters in Watercolour, the Scottish Society of Women Artists and the Society of Scottish Artists. [2] [4] [3] Examples of works by Banks are held in the national art collection of Scotland. [5]
It includes Scottish painters that can also be found in the parent category, or in diffusing subcategories of the parent. Pages in category "20th-century Scottish women painters" The following 90 pages are in this category, out of 90 total.
As writers such as George Douglas Brown railed against the "Kailyard school" that had come to dominate Scottish letters, producing satiric, realist accounts of Scottish rural life in novels like The House with the Green Shutters (1901), Scots language poets such as Violet Jacob and Marion Angus undertook a quiet revival of regionally inflected ...
Voices from Their Ain Countrie: The Poems of Marion Angus and Violet Jacob, ed. Katherine Gordon (Glasgow: Association for Scottish Literary Studies, 2006). ISBN 0-948877-76-6. This includes selections from most of Angus's published volumes. An introductory study by the author is available online: Retrieved 8 December 2011.
Kay was born in Glasgow where her father, James Kay was an established artist. [1] Violet Kay studied at the Glasgow School of Art between 1931 and 1933 and joined the Glasgow Society of Lady Artists in 1935 and later, in 1948, won their Lauder Award. [1]
Jacob Artist and Lea Michele. Getty Images (2) Unless you’ve been busy thinking about the Roman empire, there’s a good chance you know the conspiracy theory surrounding actress Lea Michele.
Produced before his departure to Italy, Jacob More's series of four paintings "Falls of Clyde" (1771–73) 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. [48]