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THE GREATS- MASTERIECES FROM THE NATIONAL GALLERIES OF SCOTLAND

January 26, 2016

THE GREATS- MASTERIECES FROM THE NATIONAL GALLERIES OF SCOTLAND

AT THE ART GALLERY OF NEW SOUTH WALES  – SYDNEY, AUSTRALIA

The Greats: masterpieces from the National Galleries of Scotland is an extraordinary and richly presented showcase of some the world’s most revered old master paintings and drawings by many of the greatest names in European art.

Botticelli ● Leonardo ● Cézanne ● El Greco ● Gauguin ● Monet ● Poussin ● Raphael ● Rubens ● Titian ● Turner ● Vermeer

 

Here are some of these wonderful masterpieces:

 

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THE GREATS – MASTERPIECES FROM THE NATIONAL GALLERIES OF SCOTLAND

 

 

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Sir Henry Raeburn

(Scotland, 1756–1823)

Colonel Alastair Ranaldson Macdonell, 15th Chief of Glengarry c1812

OIL ON CANVAS

SCOTTISH NATIONAL GALLERY

PURCHASED 1917

Elected academician to the Royal Academy in London

in 1815, the Scottish painter Raeburn exhibited

there regularly until his death in 1823. His principal

contribition to the Academy’s exhibition in 1812 was

 the flamboyany full-length  portrait of MacDonell of

Glengary, commissioned for Invergarry Castle, the

sitter’s hereditary seat in Inverness-shire. With its

depictions of a studded targe (shield): a basket-hilted

sword. and a patriotic kilt proudly worn by the subject,

this charismatic portrait became one of the defining

British Images of Highland chieftainship.

 

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William DYCE

Scotland, 1806 -1864

Francesca D Rimini, 183

oil on canvas

Scottish National Gallery

Dyce acknowledged this as one of the finest paintings he produced in Edinburgh. Its subject was inspired by the ill-fated lovers described by Dante in his epic poem ‘The Inferno’. Francesca, married to an elderly and deformed husband Gianciotto, read to his younger brother Paolo and they fell in love. Gianciotto surprised the lovers and murdered them. He was originally included in Dyce’s composition. A hint of the tragic outcome is still suggested dramatically by the presence of Gianciotto’s disembodied hand at the left, a fortuitous result of the canvas trimmed to remove damage in 1882.
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PHOTOS:
LEONARD EPSTEIN

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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One Comment leave one →
  1. January 27, 2016 7:32 am

    thank you for your terrific presentation of the Edinburgh exhibition. I’m going to Sydney to see Grayson Perry and probably won’t make it to the Edinburgh show, so I really appreciate the opportunity to have a chance to check out your version, Leonard.

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