A Brief Interlude in the National, Edinburgh

On our whirlwind, 36-hour visit to Edinburgh, we realised at one point that we needed to somehow slowdown and take a moment to collect ourselves. We took a walk in East Princes Street Gardens, past the Scott Monument, and spotted the National (formerly known as the Scottish National Gallery). With free entry, we quickly agreed that this was a perfect place to while away some time.

The National boasts an impressive collection of fine art, featuring masterpieces from the Renaissance to the early 20th century, all housed within a grand neoclassical building. These were my favourite pieces in the gallery.

Robert Burns (1869-1941), The Hunt (previously known as Diana and Her Nymphs)

Not to be confused with the poet Robert Burns!

First to catch my eye was this vibrant 1920s panel which depicts the Roman goddess Diana in an exotic, jungle-like setting filled with wild animals and rhythmic energy, highlighting her role as the goddess of hunting.

William Johnstone (1897-1981), A Point in Time

Next was this abstract painting which features natural, light-infused forms and mysterious cavernous spaces, possibly inspired by the landscapes of the Scottish Borders. If you look closely, you can spot me in the reflection (I did not realise at the time that I captured more reflection than artwork!).

William Crozier (1893-1930), Edinburgh (from Salisbury Crags)

I liked this Edinburgh cityscape by Crozier which reflects his Cubist influences, using geometric forms and dramatic lighting inspired by his travels to Italy and studies with André Lhote in Paris.

Waller Hugh Paton (1828-1895), Entrance to the Cuiraing, Skye

Painted from memory with the aid of a pencil sketch, this dramatic landscape by Paton captures the awe-inspiring Quiraing on Skye, dominated by 'The Needle' and vast natural elements. The lone, kilted figure is dwarfed by the scene, reflecting the artist’s 1866 visit and his sense of the site’s sublime power. Can you spot the figure?

The view from inside the National – looking towards the Scott Monument and the Balmoral Clock Tower

John Duncan (1866-1945), Saint Bride

Next to catch my eye was this depiction of Saint Bride’s journey to Bethlehem, with angels carrying her across a seascape inspired by the Outer Hebrides. It is believed that the tiny clown (or holy fool) on the leading angel's robe was a self-portrait of the artist.

William Dyce (1806-1864), Francesca da Rimini

I loved this painting of the doomed lovers Francesca and Paolo from Dante’s Inferno, with its lingering hint of their tragic fate symbolised by the disembodied hand of Francesca’s murderous husband, Gianciotto. (Can you see the hand?)

Sir Edwin Landseer (1802-1873), The Monarch of the Glen

This beautiful painting caught my eye from across the room, with its striking portrayal of a majestic twelve-point stag standing proudly in the Scottish Highlands. Landseer’s The Monarch of the Glen, one of the most iconic Scottish works of the 19th century, became a symbol of Scotland’s natural grandeur and has been reproduced on everything from whisky bottles to biscuit tins.

Arthur Melville (1855-1904), Egyptian Interior & George Henry (1858-1943), Geisha

By this time, we'd worked up quite an appetite for a cup of tea and some cake. My final stop was these two paintings with their beautiful detail.

On the left, is Melville's Egyptian Interior, a serene composition inspired by his 1881 Cairo sketches. Intricate mashrabiyya woodwork and subtle light effects highlight his fascination with decorative detail, balanced by the calm presence of a seated figure.

On the right is George Henry's Geisha, where the rich patterns and sparkling details of the geisha’s attire, hair, and fan are set against a stylized Mount Fuji and patterned screen. These elements reflect his deft brushwork and the influence of an 1882 Glasgow exhibition of Oriental art.

The National
National Galleries of Scotland
The Mound
Edinburgh
EH2 2EL

Open daily, 10am–5pm
Free admission | Charges for some exhibitions