📣 Exhibition Announcement!
The Maltings presents Joan Eardley: The Sea at Catterline, an exhibition curated in partnership with The Fleming Collection and part of RSA200: Celebrating Together.
🔗 tinyurl.com/582c3fwr
This week's contemporary artist spotlight: Lisa Speirs-Fleming 🎨
Her prints draw on experiences of motherhood, intertwined with the fragility of mental health, expressed through a surreal and symbolic visual language.
⭐️ Fleming Collection Artwork on Loan! ‘Light Divine Sky 2’ by Zimbabwean-Scottish artist Sekai Machache is now on display at Inverleith House, Royal Botanic Garden Edinburgh, as part of their Earth Matters exhibition.
🔗 tinyurl.com/564xdrrz
Reminder: Applications for the Curatorial Research Residency (2026-27), offered by the Fleming-Wyfold Art Foundation and the Paul Mellon Centre (PMC), are closing in a week!
📩 Don't miss your chance to apply!
🔗 tinyurl.com/3d2ueh3h
My look in @flemingartcoll.bsky.social
Scottish Art News at From the Clyde to Sarajevo & the Venice Lagoon, which pivots around the work of George Wyllie in honour of the Royal Scottish Academy’s 200th anniversary
www.flemingcollection.com/scottish_art...
The Wyllieum Greenock until May 31st.
From the Clyde to Sarajevo & The Venice Lagoon, is on display at the Wyllieum in Greenock until 31 May.
🔗 Read Neil Cooper's (@cooperhack1) review of the exhibition on Scottish Art News here: tinyurl.com/ekx86hry
This week's contemporary artist spotlight: Emily McLatchie 🎨
Her practice draws on traditional craftsmanship and natural materials to explore cycles of decay, renewal, and return.
The work of Glasgow-based artist and curator Siobhan McLaughlin will feature in Extraction, a group show at Jupiter Artland this spring.
🔗 Read Jelena Sofronijevic's conversation with the artist here: tinyurl.com/3weya6kj
Happy Easter from the Fleming Collection! 🐣🌼
This work by Scottish artist Gary Anderson depicts a scene featuring four chickens and is titled From Eggs (of Four Chickens). It is characteristic of Anderson’s earlier work, which focused on close observation of the natural world.
Margaret Morris, Flossie Jolley (c. 1915). The Fleming Collection.
This painting, by dance pioneer Margaret Morris, was of one of her young dancers, Flossie Jolley 🩰
Morris was a trailblazing dancer, establishing the Celtic Ballet Club in Glasgow in 1939, followed by the Scottish National Ballet. Encouraged by a supportive network, she became a deft painter too.
Amelia Barratt, Boiler (c. 2025). © the artist.
Amelia Barratt, Shipping (c. 2026). © the artist.
Amelia Barratt, Heating (c. 2025). © the artist.
This week's contemporary artist spotlight: Amelia Barratt 🎨
Her paintings are often inspired by Glasgow’s urban landscape, with her abstract approach transforming everyday scenes into something strange and mysterious. Her work uncovers beauty in unlikely places.
The Fleming-Wyfold Art Foundation and the Paul Mellon Centre (PMC) are excited to announce a Curatorial Research Residency for 2026-27!
🚨 Applications close on 22 April 2026 at 10am.
🔗 tinyurl.com/3d2ueh3h
Artist and writer Lachlan Goudie explores the history of art through 20 masterpieces in his new book The Secrets of Painting.
Read our interview with him about the book here: bit.ly/secretsofpai...
Painting of a late 19th century young fisherwife. She is centre and is staring straight at the viewer, with a huge basket full of fish on her back. To her right is a young girl holding a small basket of fish. On her left is a small black cat wearing a blue ribbon.
In A Newhaven Fishwife, Glasgow Boy Alexander Ignatius Roche gives the woman an allure that is at odds with her unromantic occupation.
Some have interpreted the black cat as a symbol of female sexuality, but it could just as easily be there waiting to steal some freshly caught fish!
Sionhan McLaughlin, Renewal of the Five Sisters. © the artist.
Sionhan McLaughlin, Run Off the Mine. © the artist.
Sionhan McLaughlin, Pioneer Speices. © the artist.
Sionhan McLaughlin, Tidal Pool, Pittemween. © the artist.
This week's contemporary artist spotlight: Siobhan McLaughlin 🎨
Working with remnant textiles and gathered earth pigments, McLaughlin explores themes of place, care and sustainability through painting, printmaking and installation.
Simon Phipps travelled Scotland to photograph 160 of its Brutalist buildings. The resulting exhibition, Brutal Scotland, immerses visitors in the visual and cultural atmosphere of the Brutalist era.
Read @neilcooper.bsky.social review on Scottish Art News: bit.ly/brutalscotland
To commemorate their 140th anniversary, Gray's School of Art Aberdeen are celebrating with a new exhibition ‘140 Years - Never make a head bigger than a melon’ 🍈
Now on at @abdnartmuseums.bsky.social, read Lena Kammerer's review here: bit.ly/graysschoolo...
This week's contemporary artist spotlight: Aqsa Arif 🎨
She is a Scottish-Pakistani artist who works in film, printmaking, photography and poetry to construct installations that explore themes of dual heritage, migration and cultural dissonance.
“After hours there can be no trespassing, no entry, no press access; DO NOT FORCE THE DOORS.”
Peter Liversidge’s playful new work, The Rules of the Library, now looms large over the reading rooms of @natlibscot.bsky.social.
Read @gregchthomas.bsky.social review here: bit.ly/rulesoflib
Mabel Nicholson (nee Pryde) (1871-1918), The Artist’s Daughter, Nancy, as a Harlequin (c. 1910). The Fleming Collection. A painting of a ten year old girl with dark hair wearing a colourful red, yellow and blue harlequin costume with a white ruff and sleeves, and perhaps sequins. The girl has a fake sword at her left hip and is not smiling. She is alone set against a black background.
We are delighted that a work from The Fleming Collection is featured in the newly opened Relative Ties exhibition at Murray Edwards College, Cambridge.
Open now until 6 September 2026, don't miss your chance to see this fascinating exhibition: bit.ly/relativeties...
In an ever changing and fragile world, how do you build a home? 🏠
Martha Orbach’s new exhibition at the @womenslibrary.bsky.social, To Build a Home, explores homemaking in a state of constant change.
Read Caroline Metcalf’s review here: bit.ly/marthaorbach
By splicing fragments of Arabic and English in her latest exhibition, sound artist Hannah Ellul challenges fixed senses of identity and examines how class and heritage shape the grain of our voices.
Read more about the project, on at the Glasgow Project Room until 8 March, here: bit.ly/HannahEllul
Elizabeth Blackadder (1931–2021) was the first woman elected to both the RSA and the Royal Academy.
Born in Falkirk, her childhood hobby of labelling plants with Latin names became a lifelong preoccupation with nature.
Her celebrated watercolours and prints often featured her favourite flowers 🌸
Keith McIntyre’s new exhibition What Lies Beyond blends Covid isolation in the Hebrides with the digital 'Zoom' aesthetic and Japanese Butoh theatre.
This show is a key highlight of this year's RSA 200 celebrations 🥳 read @gregchthomas.bsky.social interview with the artist here: bit.ly/4sbPbv4
Artist Michael Fullerton chatted with @gregchthomas.bsky.social about his new exhibition at the City Art Centre (running until 12 April).
They discussed his new portraits of asylum seekers and his career-long focus on screen-printing the historically misunderstood.
Read here 👉 bit.ly/4aI1oRb
Bessie MacNicol, ‘The Pink Hat’ (1898). The Fleming Collection
Horatio McCulloch, ‘The Haunt of the Red Deer' (1849). Courtesy of North East Museums, Shipley Art Gallery
Alexander Nasmyth, ‘The Union Change Bridge’ (1820). Courtesy of Paxton House
A new four-volume anthology, Scottish Art in the Industrial Age, 1800-1914, explores the evolution of Scottish art during the ‘long century’.
Read Susan Mansfield’s interview with its editors here: bit.ly/3Omvq5H
William Hutchison LLD PRSA (1889-1970), Reading Aloud/ Margery and the Boys (c. 1929). © the artist’s estate. The Fleming Collection. A painting of a seated mother with 1920s hair and clothing. On her right, a boy in a white shirt holds the back of her chair and holds her hand over her left shoulder. On her left, another boy in a dark shirt is reading a book.
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Edward Arthur Walton (1860-1922), Romance (c. 1895). The Fleming Collection. A beautiful watercolour of the side profile of a young woman. She has red, auburn hair and is wearing a blue and white dress with gold detailing. She is holding a flower to her chest and is leaning down towards as it, as if about to smell it.
Happy Valentine’s Day from the Fleming Collection 💘💞
This lovely painting, Romance, is by Glasgow Boy Edward Arthur Walton.
Walton's contemporary James Paterson said of the painting: "[it is] in my opinion perhaps the most perfect thing he ever did.” 🌹
“It's fashionable to target these organisations because they have a Victorian baggage, but I like to look at them as the country's heirlooms.”
Read @neilcooper.bsky.social interview with Royal Glasgow Institute of the Fine Arts president Gordon Murray here: bit.ly/4kDu7v9
This week's contemporary artist spotlight: Nnena Kalu 🎨
Her distinctive, expressive style has earned widespread recognition in recent years.
Her Kalu’s work is currently part of the We Contain Multitudes exhibition at Dundee Contemporary Arts, on show until 26 April 2026 🖼️