The Story of Scottish Art (updated review) || Lachlan Goudie

Scottish art has a long and noble history that is perhaps not recounted as often as it should be.

This rather delightful book is part of what looks like a new “story of” series that deals with wide vistas in a straightforward and eminently manageable way. Much of this relies on the quality of the authors – they need to be able to understand their subject intimately and select and condense their material to make it comprehensible in a relatively short narrative arc. They also need to avoid the factionalism that all too often infects art criticism (although there will undoubtedly be those queuing up to say that they’ve got the approach, the facts and the interpretations wrong). General readers will, however, just be thankful for something that doesn’t require prior specialist knowledge or become obsessed with minor detail.

Lachlan Goudie is such an author. An artist himself, the blurb describes this as “a deeply personal account”, perhaps aiming to head off perceived avenues of criticism. However, as long as you know who you’re dealing with, a less that fully objective approach can itself be interesting, and Goudie is an author who commands respect.

The book is only 384 pages. I say “only” because it covers 5000 years, which means it moves form Neolithic symbols to Glasgow’s position as a centre for contemporary art. That’s a lot of ground to cover and it’s pulling off a neat trick to do so at pace, but without becoming breathless.

There are some 180 illustrations, but as my copy is a black & white pre-press proof, I can’t comment on the quality of the reproduction.

Update, Autumn 2020. Originally announced for Spring, publication of this was delayed due to Coronavirus and a finished copy has now arrived. It’s a delight to be able to report that the quality of reproduction is excellent and the colours vibrant despite regular book paper being used, which can often mute them. The book feels as substantial physically as its contents undoubtedly are and is a genuine pleasure to handle.

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The Story of Scottish Art || Lachlan Goudie

Scottish art has a long and noble history that is perhaps not as often recounted as it should be.

This rather delightful book is part of what looks like a new “story of” series that deals with wide vistas in a straightforward and eminently manageable way. Much of this relies on the quality of the authors – they need to be able to understand their subject intimately and select and condense their material to make it comprehensible in a relatively short narrative arc. They also need to avoid the factionalism that all too often infects art criticism (although there will undoubtedly be those queuing up to say that they’ve got the approach, the facts and the interpretations wrong). General readers will, however, just be thankful for something that doesn’t require prior specialist knowledge or become obsessed with minor detail.

Lachlan Goudie is such an author. An artist himself, the blurb describes this as “a deeply personal account”, perhaps aiming to head off perceived avenues of criticism. However, as long as you know who you’re dealing with, a less that fully objective approach can itself be interesting, and Goudie is an author who commands respect.

The book is only 384 pages. I say “only” because it covers 5000 years, which means it moves form Neolithic symbols to Glasgow’s position as a centre for contemporary art. That’s a lot of ground to cover and it’s pulling off a neat trick to do so at pace, but without becoming breathless.

There are some 180 illustrations, but as my copy is a black & white pre-press proof, I can’t comment on the quality of the reproduction.

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Students of Hospitalfield || Peggy Beardmore

Hospitalfield, in Arbroath, was essentially a finishing school for artists. Formerly an imposing private residence, it was gradually transformed into an art college following a bequest by the owners, Patrick and Elizabeth Allan, at the end of the Nineteenth Century. As its reputation grew, it became the place where Scottish art schools sent their most promising pupils for the summer.

If this is unfamiliar ground and the college’s story previously untold, the lacuna is more than adequately filled here. This comprehensive study follows the history of the building as well as the art school and its influence on Scottish art in the Twentieth Century. Alongside the historical narrative are studies of many of the artists whose careers were touched by Hospitalfield and there are also plenty of generously-sized illustrations that add the all-important visual element that a book like this demands.

The blurb describes this as “an essential reference for scholars, artists and curators”, hinting at the perhaps rather academic approach. For all that, it is a tale worth reading as well as telling and is by no means inaccessible for the non-specialist.

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