The exhaustive Dictionary of Scottish Art and Architecture took my father Dr Peter McEwan over 16 years to compile, written on a Wang word processor💾 just before the advent of computers as we know them today. A distinguished academic in the social sciences, he would disappear to the coldest room❄️ in the house for a disciplined two hours every night, often returning with fascinating stories and adventures of his subjects. He employed one part time researcher in Edinburgh, and I also helped him a little with researches🔦. The first edition was published by the Antique Collector's Club in 1994 and in 2004 the McEwan Gallery published a fully updated and revised 2nd edition in house, listing over 12,000 names in 620 pages🗄, copyright remaining with the Gallery. While post-2004 obviously requires updating, the dictionary remains definitive and an indispensable resource🥂.
It filled a yawning gap in the market and peer reviews on publication were glowing✔️. As Scott Reyburn wrote, chief Arts correspondent for the Antiques Trade Gazette at the time, the dictionary is 'exhaustive .. impressive .. essential to anyone in the business of buying, selling or collecting Scottish art'. The Oxford Times described it as 'bulging with information, it is worth every penny of the cover price'. Hardly a day goes by in the gallery without turning to it for reference, a sentiment echoed by staff in the Scottish National Gallery when it first appeared.
📍The initial RRP was £59.50, now discounted to £30 plus p&p. There are plans to publish it online but for now there are only these printed copies; to order your copy please contact www.mcewangallery.com
More progress on my latest painting. I have attached photos for those who are interested in looking at how I am slowing building my chiaroscuro painting using degrees of opacity to create this vivid portrait.
I am using the form of Indirect painting as I execute this painting. I have found the advantage to Indirect painting is that it helps me problem solve my composition at all levels. I can create beautiful atmospheric effects and I can manage value, shape, color as well as soft and hard edges. In my early stages I am executing with specific intent, from opacity to scumbling out with body to create veils with substance and accuracy. I am using the Rublev Natural pigments oil paints to mass 3 to 5 distinct families and once everything is compositional how I want it, I will then add color last in more transparent layers.
I am thankful to my friend Jim Robinson who is helping me on my research of oil paint (Rublev) and my approach and understanding of Caravaggio. I will post more updates as I go, but as I mentioned indirect painting is not a fast approach like direct painting and this piece will take time to complete. #caniglia_art#imaginativerealism#kitschpainting#kitschart#kunst#academicart#chiaroscuro#traditionalpainting#masterpainting#oldmasters#indirectpainting#rublevcolours#illustrationart#oilpainting#portraitpainting#tennebrism#sfumato#darkart