The life, times and work of William Gillies, 1898-1973:
Gespeichert in:
| Beteilige Person: | |
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| Weitere beteiligte Personen: | |
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2024]
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| Schlagwörter: | |
| Abstract: | For seventy years, William Gillies has been seen as a placid painter of landscape and decorative still life. Andrew McPherson explodes this view to reveal a modernist whose response to the instabilities and violence of modernity touched universals of human experience. Gillies' idiom was shaped by institutions for artistic production unique to Scotland. But it was the politics of Scotland's connections to the rest of the British Isles that produced his mythic and misleading reputation. New paintings and new meanings are uncovered placing the micro-effects of modernity on mental health, family and community in the wider contexts of war, nationalism and public patronage. McPherson also shows how this changing world led Gillies towards new applications of modernist expression. Lavishly illustrated, and referencing almost one thousand works, this major reappraisal is an indispensable source on the cultural politics of a four-nation state and the reception of modernism in Britain |
| Umfang: | 912 Seiten Illustrationen |
| ISBN: | 9781399518307 |
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| 245 | 1 | 0 | |a The life, times and work of William Gillies, 1898-1973 |c Andrew McPherson |
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| 505 | 8 | |a Frontmatter -- Contents -- Foreword -- Main Abbreviations and Text Conventions -- Note on the Dates and Titles of Images -- Preface -- Preview -- 1 Introduction -- Introduction: 'Something Generative . . . was Happening' -- Modernity, Modernism and the Countryman Fiction -- Patronage, Cultural Politics, Mentors, Intuition and Chance -- Haddington and Edinburgh Reconsidered -- 'Leading Artists and Sculptors of the Modern School': Gillies in Context -- Methods, Sources and Organisation -- 2 Origins and Childhood -- Introduction: Perspectives on Family and Change -- Town, City, Asylum: The Family Diaspora, Mid-1800s to 1910 -- The Educational Ladder -- Primary-school Friendships, 1903-10 -- Secondary-school Dux, 1910-16 -- Conclusion -- 3 Childhood Sensibility -- Preview -- Eclectic Memories -- Learning to Picture: Childhood Mentors, 1910-16 -- Seventy-one Pictures: The Visual Evidence -- The Emergent Sensibility -- 4 The Afterlife of War -- | |
| 505 | 8 | |a Introduction: The Silence of the Survivor -- Haldane and Haddington, 1905-16: Test-bed for a Modern Army -- To the Trenches and Back, 1917-19 -- Infantry Private and Artist: Preview of a Future Self -- Fiction and Experience: The Existential Legacy -- Back to College, 1919-23 -- Time Bent Back: The Legacy Extended -- 5 The Family Economy -- Preview -- Supported by Sisters: The Family Pact, 1920-9 -- Edinburgh Years: Retrenchment, Insecurity and Loss, 1930-9 -- The Flight to Temple Village in 1939 -- Promotion, Security and Selling-up in Edinburgh, 1946-8 -- 6 Kailyard and Kin -- Modernism or Sentimentality? J. M. Barrie, Hugh MacDiarmid and Kirriemuir -- A 'Spot where Pilgrimages are Made': The Family-origins Story -- Divergent Family Values: Recasting Past and Future -- Lived Modernity: Scepticism, Mutuality, Science and Gender -- 'Grown Silent': When Experience Controverts Narrative -- 7 Bohemian Edinburgh -- Introduction: Public Images, Private Lives -- | |
| 505 | 8 | |a The Society of Eight and Dead Men's Shoes -- Munch, Decadence, Scandal and Herbert Read -- Cultured Circles: Gilded, Catholic, Nationalist, Gay -- Frustrated Love in Oslo, Edinburgh and the French Riviera -- An Audience Schooled in Modernist Sophistications -- 8 Emma, Janet and Margery -- Introduction: Aspects of Thyroid Disease -- Emma Smith Gillies: Potter, Feminist, Casualty -- Living and Dying with Misdiagnoses -- 'Sweet on Gillies': The Artist and Margery Porter -- 9 Portraits -- Introduction: 'To Whisper Rather than to State' -- The 1920s: Keeping his Hand In -- The 1930s: Sacred and Profane, Playful and Confessional -- Artist and Mirror: Facing Present, Future and Past -- 10 Landscapes and Still Lifes, 1925-39 -- Overview: 'A Charter of Liberty' -- Cubism in Paris, Edinburgh and London -- Shaken by Munch: The Disintegrated Landscape -- The Emergent Idiom: Perception, Abstraction and Klee -- The 'Tree in the Field': Perception, Introspection and Imaging -- | |
| 505 | 8 | |a Beyond Mere Appearance: Still Life and Existential Crisis -- 11 Later Still Lifes -- Introduction and Overview: Abstraction and the 'Curious Gap' -- Hundreds of Still Lifes: Trends, 1925-73 -- Wartime: 'Just What the Times Demand' -- The 1955 RSA Diploma Painting -- Life and Death in Abstraction, 1947-60 -- Inner and Outer Worlds, 1960-72 -- 12 Later Landscapes in Oil -- Introduction: Temple Continuities, 1940-9 -- Dispersed Forms of Imagination: The Borders, 1949-60 -- Visual Summations, 1960-72 -- 13 Politics, Patronage and Later Landscapes on Paper -- Introduction: 'A Curious Exaltation' -- The Works on Paper, 1940-72 -- The Edinburgh Festival, Nationalism and the Countryman Fiction -- The Countryman and the Scottish National Gallery of Modern Art -- Conclusions -- Timeline -- All Abbreviations -- Notes -- Details of Illustrations -- List of Works -- Select Bibliography -- Indicative Primary Sources -- References -- Image Credits -- Permissions -- Acknowledgements -- | |
| 505 | 8 | |a Index of Gillies' Artworks -- General Index | |
| 520 | 3 | |a For seventy years, William Gillies has been seen as a placid painter of landscape and decorative still life. Andrew McPherson explodes this view to reveal a modernist whose response to the instabilities and violence of modernity touched universals of human experience. Gillies' idiom was shaped by institutions for artistic production unique to Scotland. But it was the politics of Scotland's connections to the rest of the British Isles that produced his mythic and misleading reputation. New paintings and new meanings are uncovered placing the micro-effects of modernity on mental health, family and community in the wider contexts of war, nationalism and public patronage. McPherson also shows how this changing world led Gillies towards new applications of modernist expression. Lavishly illustrated, and referencing almost one thousand works, this major reappraisal is an indispensable source on the cultural politics of a four-nation state and the reception of modernism in Britain | |
| 653 | 0 | |a Art, Scottish / 20th century | |
| 653 | 0 | |a Modernism (Art) / Scotland | |
| 653 | 0 | |a ART / European | |
| 700 | 1 | |a Fisher, Gareth |d 1951- |0 (DE-588)139134689 |4 ctb | |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-035541266 | |
Datensatz im Suchindex
| _version_ | 1826846349796048896 |
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| author | McPherson, Andrew |
| author2 | Fisher, Gareth 1951- |
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| author_GND | (DE-588)139134689 |
| author_facet | McPherson, Andrew Fisher, Gareth 1951- |
| author_role | aut |
| author_sort | McPherson, Andrew |
| author_variant | a m am |
| building | Verbundindex |
| bvnumber | BV050206005 |
| contents | Frontmatter -- Contents -- Foreword -- Main Abbreviations and Text Conventions -- Note on the Dates and Titles of Images -- Preface -- Preview -- 1 Introduction -- Introduction: 'Something Generative . . . was Happening' -- Modernity, Modernism and the Countryman Fiction -- Patronage, Cultural Politics, Mentors, Intuition and Chance -- Haddington and Edinburgh Reconsidered -- 'Leading Artists and Sculptors of the Modern School': Gillies in Context -- Methods, Sources and Organisation -- 2 Origins and Childhood -- Introduction: Perspectives on Family and Change -- Town, City, Asylum: The Family Diaspora, Mid-1800s to 1910 -- The Educational Ladder -- Primary-school Friendships, 1903-10 -- Secondary-school Dux, 1910-16 -- Conclusion -- 3 Childhood Sensibility -- Preview -- Eclectic Memories -- Learning to Picture: Childhood Mentors, 1910-16 -- Seventy-one Pictures: The Visual Evidence -- The Emergent Sensibility -- 4 The Afterlife of War -- Introduction: The Silence of the Survivor -- Haldane and Haddington, 1905-16: Test-bed for a Modern Army -- To the Trenches and Back, 1917-19 -- Infantry Private and Artist: Preview of a Future Self -- Fiction and Experience: The Existential Legacy -- Back to College, 1919-23 -- Time Bent Back: The Legacy Extended -- 5 The Family Economy -- Preview -- Supported by Sisters: The Family Pact, 1920-9 -- Edinburgh Years: Retrenchment, Insecurity and Loss, 1930-9 -- The Flight to Temple Village in 1939 -- Promotion, Security and Selling-up in Edinburgh, 1946-8 -- 6 Kailyard and Kin -- Modernism or Sentimentality? J. M. Barrie, Hugh MacDiarmid and Kirriemuir -- A 'Spot where Pilgrimages are Made': The Family-origins Story -- Divergent Family Values: Recasting Past and Future -- Lived Modernity: Scepticism, Mutuality, Science and Gender -- 'Grown Silent': When Experience Controverts Narrative -- 7 Bohemian Edinburgh -- Introduction: Public Images, Private Lives -- The Society of Eight and Dead Men's Shoes -- Munch, Decadence, Scandal and Herbert Read -- Cultured Circles: Gilded, Catholic, Nationalist, Gay -- Frustrated Love in Oslo, Edinburgh and the French Riviera -- An Audience Schooled in Modernist Sophistications -- 8 Emma, Janet and Margery -- Introduction: Aspects of Thyroid Disease -- Emma Smith Gillies: Potter, Feminist, Casualty -- Living and Dying with Misdiagnoses -- 'Sweet on Gillies': The Artist and Margery Porter -- 9 Portraits -- Introduction: 'To Whisper Rather than to State' -- The 1920s: Keeping his Hand In -- The 1930s: Sacred and Profane, Playful and Confessional -- Artist and Mirror: Facing Present, Future and Past -- 10 Landscapes and Still Lifes, 1925-39 -- Overview: 'A Charter of Liberty' -- Cubism in Paris, Edinburgh and London -- Shaken by Munch: The Disintegrated Landscape -- The Emergent Idiom: Perception, Abstraction and Klee -- The 'Tree in the Field': Perception, Introspection and Imaging -- Beyond Mere Appearance: Still Life and Existential Crisis -- 11 Later Still Lifes -- Introduction and Overview: Abstraction and the 'Curious Gap' -- Hundreds of Still Lifes: Trends, 1925-73 -- Wartime: 'Just What the Times Demand' -- The 1955 RSA Diploma Painting -- Life and Death in Abstraction, 1947-60 -- Inner and Outer Worlds, 1960-72 -- 12 Later Landscapes in Oil -- Introduction: Temple Continuities, 1940-9 -- Dispersed Forms of Imagination: The Borders, 1949-60 -- Visual Summations, 1960-72 -- 13 Politics, Patronage and Later Landscapes on Paper -- Introduction: 'A Curious Exaltation' -- The Works on Paper, 1940-72 -- The Edinburgh Festival, Nationalism and the Countryman Fiction -- The Countryman and the Scottish National Gallery of Modern Art -- Conclusions -- Timeline -- All Abbreviations -- Notes -- Details of Illustrations -- List of Works -- Select Bibliography -- Indicative Primary Sources -- References -- Image Credits -- Permissions -- Acknowledgements -- Index of Gillies' Artworks -- General Index |
| ctrlnum | (DE-599)BVBBV050206005 |
| dewey-full | 759.2/911 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 759 - History, geographic treatment, biography |
| dewey-raw | 759.2/911 |
| dewey-search | 759.2/911 |
| dewey-sort | 3759.2 3911 |
| dewey-tens | 750 - Painting and paintings |
| discipline | Kunstgeschichte |
| format | Book |
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| id | DE-604.BV050206005 |
| illustrated | Illustrated |
| indexdate | 2025-03-17T13:00:43Z |
| institution | BVB |
| isbn | 9781399518307 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-035541266 |
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| owner_facet | DE-11 |
| physical | 912 Seiten Illustrationen |
| publishDate | 2024 |
| publishDateSearch | 2024 |
| publishDateSort | 2024 |
| publisher | Edinburgh University Press |
| record_format | marc |
| spelling | McPherson, Andrew Verfasser aut The life, times and work of William Gillies, 1898-1973 Andrew McPherson Edinburgh Edinburgh University Press [2024] 912 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Frontmatter -- Contents -- Foreword -- Main Abbreviations and Text Conventions -- Note on the Dates and Titles of Images -- Preface -- Preview -- 1 Introduction -- Introduction: 'Something Generative . . . was Happening' -- Modernity, Modernism and the Countryman Fiction -- Patronage, Cultural Politics, Mentors, Intuition and Chance -- Haddington and Edinburgh Reconsidered -- 'Leading Artists and Sculptors of the Modern School': Gillies in Context -- Methods, Sources and Organisation -- 2 Origins and Childhood -- Introduction: Perspectives on Family and Change -- Town, City, Asylum: The Family Diaspora, Mid-1800s to 1910 -- The Educational Ladder -- Primary-school Friendships, 1903-10 -- Secondary-school Dux, 1910-16 -- Conclusion -- 3 Childhood Sensibility -- Preview -- Eclectic Memories -- Learning to Picture: Childhood Mentors, 1910-16 -- Seventy-one Pictures: The Visual Evidence -- The Emergent Sensibility -- 4 The Afterlife of War -- Introduction: The Silence of the Survivor -- Haldane and Haddington, 1905-16: Test-bed for a Modern Army -- To the Trenches and Back, 1917-19 -- Infantry Private and Artist: Preview of a Future Self -- Fiction and Experience: The Existential Legacy -- Back to College, 1919-23 -- Time Bent Back: The Legacy Extended -- 5 The Family Economy -- Preview -- Supported by Sisters: The Family Pact, 1920-9 -- Edinburgh Years: Retrenchment, Insecurity and Loss, 1930-9 -- The Flight to Temple Village in 1939 -- Promotion, Security and Selling-up in Edinburgh, 1946-8 -- 6 Kailyard and Kin -- Modernism or Sentimentality? J. M. Barrie, Hugh MacDiarmid and Kirriemuir -- A 'Spot where Pilgrimages are Made': The Family-origins Story -- Divergent Family Values: Recasting Past and Future -- Lived Modernity: Scepticism, Mutuality, Science and Gender -- 'Grown Silent': When Experience Controverts Narrative -- 7 Bohemian Edinburgh -- Introduction: Public Images, Private Lives -- The Society of Eight and Dead Men's Shoes -- Munch, Decadence, Scandal and Herbert Read -- Cultured Circles: Gilded, Catholic, Nationalist, Gay -- Frustrated Love in Oslo, Edinburgh and the French Riviera -- An Audience Schooled in Modernist Sophistications -- 8 Emma, Janet and Margery -- Introduction: Aspects of Thyroid Disease -- Emma Smith Gillies: Potter, Feminist, Casualty -- Living and Dying with Misdiagnoses -- 'Sweet on Gillies': The Artist and Margery Porter -- 9 Portraits -- Introduction: 'To Whisper Rather than to State' -- The 1920s: Keeping his Hand In -- The 1930s: Sacred and Profane, Playful and Confessional -- Artist and Mirror: Facing Present, Future and Past -- 10 Landscapes and Still Lifes, 1925-39 -- Overview: 'A Charter of Liberty' -- Cubism in Paris, Edinburgh and London -- Shaken by Munch: The Disintegrated Landscape -- The Emergent Idiom: Perception, Abstraction and Klee -- The 'Tree in the Field': Perception, Introspection and Imaging -- Beyond Mere Appearance: Still Life and Existential Crisis -- 11 Later Still Lifes -- Introduction and Overview: Abstraction and the 'Curious Gap' -- Hundreds of Still Lifes: Trends, 1925-73 -- Wartime: 'Just What the Times Demand' -- The 1955 RSA Diploma Painting -- Life and Death in Abstraction, 1947-60 -- Inner and Outer Worlds, 1960-72 -- 12 Later Landscapes in Oil -- Introduction: Temple Continuities, 1940-9 -- Dispersed Forms of Imagination: The Borders, 1949-60 -- Visual Summations, 1960-72 -- 13 Politics, Patronage and Later Landscapes on Paper -- Introduction: 'A Curious Exaltation' -- The Works on Paper, 1940-72 -- The Edinburgh Festival, Nationalism and the Countryman Fiction -- The Countryman and the Scottish National Gallery of Modern Art -- Conclusions -- Timeline -- All Abbreviations -- Notes -- Details of Illustrations -- List of Works -- Select Bibliography -- Indicative Primary Sources -- References -- Image Credits -- Permissions -- Acknowledgements -- Index of Gillies' Artworks -- General Index For seventy years, William Gillies has been seen as a placid painter of landscape and decorative still life. Andrew McPherson explodes this view to reveal a modernist whose response to the instabilities and violence of modernity touched universals of human experience. Gillies' idiom was shaped by institutions for artistic production unique to Scotland. But it was the politics of Scotland's connections to the rest of the British Isles that produced his mythic and misleading reputation. New paintings and new meanings are uncovered placing the micro-effects of modernity on mental health, family and community in the wider contexts of war, nationalism and public patronage. McPherson also shows how this changing world led Gillies towards new applications of modernist expression. Lavishly illustrated, and referencing almost one thousand works, this major reappraisal is an indispensable source on the cultural politics of a four-nation state and the reception of modernism in Britain Art, Scottish / 20th century Modernism (Art) / Scotland ART / European Fisher, Gareth 1951- (DE-588)139134689 ctb |
| spellingShingle | McPherson, Andrew The life, times and work of William Gillies, 1898-1973 Frontmatter -- Contents -- Foreword -- Main Abbreviations and Text Conventions -- Note on the Dates and Titles of Images -- Preface -- Preview -- 1 Introduction -- Introduction: 'Something Generative . . . was Happening' -- Modernity, Modernism and the Countryman Fiction -- Patronage, Cultural Politics, Mentors, Intuition and Chance -- Haddington and Edinburgh Reconsidered -- 'Leading Artists and Sculptors of the Modern School': Gillies in Context -- Methods, Sources and Organisation -- 2 Origins and Childhood -- Introduction: Perspectives on Family and Change -- Town, City, Asylum: The Family Diaspora, Mid-1800s to 1910 -- The Educational Ladder -- Primary-school Friendships, 1903-10 -- Secondary-school Dux, 1910-16 -- Conclusion -- 3 Childhood Sensibility -- Preview -- Eclectic Memories -- Learning to Picture: Childhood Mentors, 1910-16 -- Seventy-one Pictures: The Visual Evidence -- The Emergent Sensibility -- 4 The Afterlife of War -- Introduction: The Silence of the Survivor -- Haldane and Haddington, 1905-16: Test-bed for a Modern Army -- To the Trenches and Back, 1917-19 -- Infantry Private and Artist: Preview of a Future Self -- Fiction and Experience: The Existential Legacy -- Back to College, 1919-23 -- Time Bent Back: The Legacy Extended -- 5 The Family Economy -- Preview -- Supported by Sisters: The Family Pact, 1920-9 -- Edinburgh Years: Retrenchment, Insecurity and Loss, 1930-9 -- The Flight to Temple Village in 1939 -- Promotion, Security and Selling-up in Edinburgh, 1946-8 -- 6 Kailyard and Kin -- Modernism or Sentimentality? J. M. Barrie, Hugh MacDiarmid and Kirriemuir -- A 'Spot where Pilgrimages are Made': The Family-origins Story -- Divergent Family Values: Recasting Past and Future -- Lived Modernity: Scepticism, Mutuality, Science and Gender -- 'Grown Silent': When Experience Controverts Narrative -- 7 Bohemian Edinburgh -- Introduction: Public Images, Private Lives -- The Society of Eight and Dead Men's Shoes -- Munch, Decadence, Scandal and Herbert Read -- Cultured Circles: Gilded, Catholic, Nationalist, Gay -- Frustrated Love in Oslo, Edinburgh and the French Riviera -- An Audience Schooled in Modernist Sophistications -- 8 Emma, Janet and Margery -- Introduction: Aspects of Thyroid Disease -- Emma Smith Gillies: Potter, Feminist, Casualty -- Living and Dying with Misdiagnoses -- 'Sweet on Gillies': The Artist and Margery Porter -- 9 Portraits -- Introduction: 'To Whisper Rather than to State' -- The 1920s: Keeping his Hand In -- The 1930s: Sacred and Profane, Playful and Confessional -- Artist and Mirror: Facing Present, Future and Past -- 10 Landscapes and Still Lifes, 1925-39 -- Overview: 'A Charter of Liberty' -- Cubism in Paris, Edinburgh and London -- Shaken by Munch: The Disintegrated Landscape -- The Emergent Idiom: Perception, Abstraction and Klee -- The 'Tree in the Field': Perception, Introspection and Imaging -- Beyond Mere Appearance: Still Life and Existential Crisis -- 11 Later Still Lifes -- Introduction and Overview: Abstraction and the 'Curious Gap' -- Hundreds of Still Lifes: Trends, 1925-73 -- Wartime: 'Just What the Times Demand' -- The 1955 RSA Diploma Painting -- Life and Death in Abstraction, 1947-60 -- Inner and Outer Worlds, 1960-72 -- 12 Later Landscapes in Oil -- Introduction: Temple Continuities, 1940-9 -- Dispersed Forms of Imagination: The Borders, 1949-60 -- Visual Summations, 1960-72 -- 13 Politics, Patronage and Later Landscapes on Paper -- Introduction: 'A Curious Exaltation' -- The Works on Paper, 1940-72 -- The Edinburgh Festival, Nationalism and the Countryman Fiction -- The Countryman and the Scottish National Gallery of Modern Art -- Conclusions -- Timeline -- All Abbreviations -- Notes -- Details of Illustrations -- List of Works -- Select Bibliography -- Indicative Primary Sources -- References -- Image Credits -- Permissions -- Acknowledgements -- Index of Gillies' Artworks -- General Index |
| title | The life, times and work of William Gillies, 1898-1973 |
| title_auth | The life, times and work of William Gillies, 1898-1973 |
| title_exact_search | The life, times and work of William Gillies, 1898-1973 |
| title_full | The life, times and work of William Gillies, 1898-1973 Andrew McPherson |
| title_fullStr | The life, times and work of William Gillies, 1898-1973 Andrew McPherson |
| title_full_unstemmed | The life, times and work of William Gillies, 1898-1973 Andrew McPherson |
| title_short | The life, times and work of William Gillies, 1898-1973 |
| title_sort | the life times and work of william gillies 1898 1973 |
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