Origin Stories

As the RSA enters its 200th anniversary year, our Royal Scottish Academicians are being celebrated across Scotland as part of our flagship project RSA200: Celebrating Together. From Shetland to Kirkcudbright, they connect to all corners of the country, and their stories flow through history since the Academy was established in 1826.

Fundamental to this is how influence and inspiration have passed through generations of artists from tutor-to-student. One can trace connecting paths from the early Masters at the Trustees’ Academy and RSA Life School through the main Scottish art schools to the practitioners of today. The role of teaching has always been central to the RSA, while Academicians have been involved throughout the evolution of art teaching across the schools and colleges of Scotland, extending and linking narratives as they have moved from place to place.

Sir William Allan PPRSA was the second President of the Royal Scottish Academy and the eighth master of the Trustees’ Academy, succeeding Andrew Wilson. Allan’s relationship with the institution was both cyclical and transformative and he oversaw its move into the Royal Institution building in 1826, in the same year that the Scottish Academy was established (the RSA received its Royal Charter in 1838). Acting as Master until 1844, Allan ensured the Trustees’ retained an active role in the development of a Scottish School of Painting.

Born in Kinclaven, Perthshire, Thomas Duncan RSA initially studied law but abandoned it to enrol at the Trustees' Academy in 1827. There, he studied under Sir William Allan PPRSA and was a contemporary of David Octavius Hill RSA. His progress was meteoric; he exhibited at the Royal Scottish Academy the following year and was elected a full Academician in 1829 at the young age of twenty-two.

Soon after Duncan had completed his studies at the Trustees’ Academy, his talent was recognised as he was amongst the first tutors of the RSA Life School in its first iteration in 1836, returning to teach there in 1840-41 and 1843-44. In 1844, he was appointed Master, succeeding his mentor Allan. Although his tenure was tragically cut short by his death in 1845, Duncan’s emphasis on richness of tone and character study paved the way for Robert Scott Lauder RSA to follow him.

Born in Rattray, Perthshire, Robert Herdman RSA was a central figure in Victorian Scottish art, celebrated for his romantic historical scenes and portraiture. Originally a divinity student at St Andrews, he turned to art in 1847, enrolling at the Trustees' Academy in Edinburgh. There, he became a star pupil of Robert Scott Lauder RSA, whose teaching on colour and composition deeply influenced Herdman’s style.

Herdman’s education continued at the Royal Scottish Academy Life School, from 1852 to 1853, where he cemented his reputation. As a teacher and senior Academician, Herdman played an active role in the RSA Life School, serving as a mentor to younger artists from 1879 to 1881, and the earlier year of 1872, when he taught a young James Campbell Noble RSA.

James Pittendrigh Macgillivray RSA, the King's Sculptor in Ordinary for Scotland, is often cited as the only sculptor associated with the ‘Glasgow Boys'. He was a transformative figure who bridged the gap between Victorian Classicism and modern Scottish sculpture. His education began in the traditional manner: at age thirteen, he entered the Edinburgh studio of William Brodie RSA as an apprentice. Macgillivray absorbed the technical discipline of the older master, but would ultimately reject Brodie's smooth, classical finishes in favour of a more rugged, expressive modelling style that prioritised light, shadow, and emotional resonance with the subject.

Macgillivray’s influence on the next generation of sculptors was both direct and structural. Although he was critical of academic art schools, his 1904 report to the Scottish Education Department was instrumental in the founding of the Edinburgh College of Art (ECA). His most tangible legacy, however, was through the assistants he mentored in his own studio.

Percival Herbert 'Percy' Portsmouth RSA was an influential sculptor whose career bridged the late Victorian period and the twentieth century. In 1903, Portsmouth moved to Edinburgh to teach modelling at the Edinburgh School of Art, which was soon reconstituted as the Edinburgh College of Art in 1908.

Appointed as the first Head of the Department of Modelling (later Sculpture) by Principal Frank Morley Fletcher, Portsmouth was instrumental in establishing the College’s reputation for technical excellence. He brought the refined classical figurative tradition and high standards of Lantéri's method to Scotland. This foundation shaped a generation of sculptors, including Fanindra Nath Bose ARSA, the first Indian sculptor recognised by a British institution when he was elected an Associate of the RSA in 1925.

In his training, Alexander Carrick RSA bridged a gap between architectural stonemasonry and expressive artistic autonomy. Born in Musselburgh to a family of blacksmiths, his sculptural learnings were rooted in craft; he began as an apprentice stone carver in the yard of William Birnie Rhind RSA before enrolling at Edinburgh College of Art (ECA), where his talent won him a scholarship to study under Édouard Lantéri at the Royal College of Art in London. Upon his return to Scotland, Carrick further honed his practice in the studio of James Pittendrigh Macgillivray RSA.

Carrick joined the staff at ECA in 1914, eventually serving as Head of Sculpture from 1928 to 1942. Although he was never formally trained as a teacher, he seems to have been a natural, who could instil in students an enthusiasm and love for the subject. He was especially committed to carving, and his philosophy profoundly influenced a new generation of Scottish sculptors, most notably Hew Lorimer RSA and Phyllis Bone RSA.

Penelope Beaton ARSA was a formidable yet cherished figure in Scottish art education, serving as a vital link between the traditional and modern phases of the ‘Edinburgh School.’ She graduated from Edinburgh College of Art in 1917 and joined its staff in 1919, eventually becoming the Head of the Junior Department — the foundational year through which all diploma students passed. For many years she was the only female painter in a Drawing and Painting Department dominated by male artists.

Her influence was both technical and maternal. Known affectionately as 'Pene', she was a rigorous disciplinarian who instilled a strong command of drawing and composition, yet she was also known for her deep personal support of her students. At ECA, Beaton directly shaped the early development of Dame Elizabeth Blackadder RSA and Frances Walker RSA. As Head of the Junior Department during their student years, she laid the disciplined groundwork upon which they built their distinct styles.

Sir William G Gillies RSA stands as a monumental figure in twentieth-century Scottish painting, his legacy inextricably woven into the fabric of the Edinburgh College of Art. His own artistic formation at the college was grounded in the rigorous traditional training of the inter-war years, where he studied under the academic tutelage of David Alison RSA and the enthusiastic Modernism of David Macbeth Sutherland RSA. Gillies was also taught by Penelope Beaton RSA, who shared his love for Scottish landscape and wilderness.

It was Gillies' tenure as a teacher, spanning over forty years and culminating in his role as Principal (1960-1966), that secured his profound influence on future generations. He fostered an environment where individual vision was paramount, quietly guiding some of Scotland’s most significant post-war artists. Among his distinguished students were Dame Elizabeth Blackadder RSA, James Cumming RSA and Frances Walker RSA.

Sydney Birnie Stewart ARSA was a highly respected figurative sculptor and educator whose career bridged English and Scottish art institutions. A native of Peterhead, Stewart began his training in Sculpture at Gray's School of Art, Aberdeen, where he excelled, winning a major Travelling Scholarship. He furthered his studies at the Royal College of Art in 1938, eventually receiving the prestigious Gold Medal for Sculpture following his war service.

Before his return to Scotland, Stewart taught at notable London schools, including St Martin's School of Art, and in 1953, he brought his considerable experience to the Edinburgh College of Art, where he remained until his death in 1976. He served as Superintendent of the Evening School and was a highly regarded tutor in the Drawing and Painting and Sculpture Schools. Stewart’s warm personality and deep dedication to craft were defining features of his teaching.

Ann Henderson RSA was born in Thurso and entered Edinburgh College of Art in 1940, training during a transitional period for the department. Her early education was grounded in the curriculum of Alexander Carrick RSA, before evolving under the direction of Eric Schilsky RSA, whose influence marked her postgraduate years.

Returning to ECA as a lecturer in 1946, Henderson became a vital conduit for new ideas, teaching there until her untimely death. She was instrumental in modernising the sculpture department, notably becoming one of the first in Scotland to pioneer the use of polyester resin and fibreglass. Her teaching style left a profound mark on the next generation of sculptors, including Bill Scott PPRSA and Jake Harvey RSA, who cite her as a key influence in their studies.

Frederick Stiven ARSA received his formal training in Design at the Edinburgh College of Art from 1946 to 1950. He studied under notable figures like Leonard Rosoman and John Kingsley Cook and was awarded a postgraduate scholarship in 1950–51. Stiven’s early interests were wide-ranging, leading him to work as a lecturer in typography before commencing his long and influential teaching career in Aberdeen.

In 1958, Stiven joined the staff of Gray’s School of Art, Aberdeen, where he remained for over three decades, eventually serving as Head of Design. He was regarded by many students as an inspirational and broad-minded tutor. In his teaching philosophy he attributed his instincts to a kinship with 19th-century Laurencekirk craftsmen. His influence extended to a generation of Gray’s students, including the artists Will Maclean RSA and Marian Leven RSA.

Dame Elizabeth Blackadder RSA is inextricably linked to the history and ethos of Edinburgh College of Art, where she flourished both as a celebrated pupil and a dedicated tutor. Entering the college in 1949, she studied during a golden era under the tutelage of Sir William Gillies RSA, Sir Robin Philipson PPRSA, Sir William MacTaggart PPRSA, Penelope Beaton ARSA and Robert Henderson Blyth RSA.

Blackadder returned to ECA as a lecturer in 1962, teaching until her retirement in 1986. Like many others taught in this golden era, she inherited Gillies’ admirable artistic work ethic, but unlike the approach of some contemporaries, Blackadder’s influence as a teacher was characterised by quiet encouragement and a nurturing support that extended well beyond graduation. She instilled in her students the discipline of close observation and composition without imposing her own style, allowing individual voices to emerge.

Sylvia Wishart RSA was born in Stromness and initially worked at the local Post Office before her talent was recognised by her art teacher, Ian MacInnes. Encouraged to pursue formal training, she enrolled as a mature student at Gray’s School of Art, Aberdeen, where she quickly distinguished herself as a student of rare talent and purpose, winning a post-diploma scholarship.

Her time at Gray's was pivotal not only for her own development but for the lifelong professional bond she formed with her early teacher and colleague, Frances Walker RSA. Sharing a deep commitment to draughtsmanship and a love for remote Northern landscapes, the two artist-educators became central figures in the school’s Drawing and Painting department. Wishart taught at Gray’s from 1969 to 1987 and she instilled in her students a profound respect for observation, proportion and humility. Her teaching legacy, much like her art, was characterised by a quiet, structural integrity that deeply affected generations of students, including the future director of the Pier Arts Centre, Neil Firth.

William Brotherston RSA was born in Edinburgh in 1943. His artistic identity is grounded in his extensive time at Edinburgh College of Art (ECA), first as a student from 1965 to 71 and thereafter as a teacher in the sculpture department. His time there provides a fascinating account of the sculpture school's evolution, highlighting how rigorous technical craft served as the essential foundation for later creative freedom.

On rejoining the college as a tutor in 1972, Brotherston helped ensure first-year students were taught essential skills working with clay, plaster, carving and construction in wood and fostered an immersive, collaborative environment. During this time, the staff were present daily, creating an atmosphere where knowledge transfer was continuous, especially during intensive processes like casting. From his experience, Brotherston views a highly practical and collaborative environment as crucial to the success of teaching sculpture and worries that modern academic structures, which break up continuous student time, are threatening the essential technical and social fabric of sculpture education.

Born in Yetholm in 1948, Jake Harvey RSA’s practice is fundamentally rooted in the geological, archaeological and cultural strata of Scotland and the wider world. He trained at Edinburgh College of Art (ECA) from 1966 to 1972 under Ann Henderson RSA, Vincent Butler RSA, Sydney Birnie Stewart ARSA and Maxwell Allan.

Following his training at ECA, Harvey’s art progressed from semi-autobiographical, figurative pieces rooted in his upbringing in the Scottish Borders to simple, elemental forms inspired by early Scottish archaeology and later, Japanese aesthetics. His experience in Japan shifted his focus from form alone to revealing the innate structure of materials. He would take his love and fascination with materials into his own role as Head of Sculpture at ECA, where he succeeded Bill Scott PPRSA in 1999. Here he was determined to maintain the integrity of the course he experienced by ensuring every first-year student received practical experience in a wide range of materials (clay, plaster, wood, metal, stone).

Lennox Dunbar RSA was born in Aberdeen in 1952. His career is a compelling narrative of moving from the constraints of rigid academic training to advocating for expressive freedom, particularly through the medium of printmaking, during his long tenure at Gray's School of Art. Experimentation would be central in Dunbar’s own teaching when he took the reins as Head of Printmaking at Gray’s in 1987, having joined the staff as lecturer in Painting and Printmaking there in 1981-82. His teaching instilled freedom and interdisciplinary practice, in reaction against the constraints of his own training.

Dunbar’s shaping influence in printmaking at Gray’s (printmaking was validated as a standalone course due to his efforts) went hand in hand with his role at the open access workshop Peacock Printmakers. Working there as an etching technician and education officer from 1978 to 86, Dunbar credits his friend and peer Arthur Watson’s support as driving his career as a printmaker and opening doors for him as an artist.

After meeting at Glasgow School of Art, Matthew Dalziel and Louise Scullion established a collaborative practice that rethinks the genre of environmental art. Their unique artistic voice is rooted in their respective training at Scotland’s leading art institutions during a pivotal era for conceptual practice. Their Diploma Work SÁL, in its evocative response to the tragic sinking of the Iolaire at Stornoway Harbour in 1919, has distinct echoes with the practice of Will Maclean RSA, whom both artists recognise as a key early influence on their practice.

Dalziel + Scullion would join Maclean on the staff at Duncan of Jordanstone in 1995, evolving a successful research-based teaching practice that benefitted from their shared strengths and sought to nurture students whilst preparing them for the practicalities of becoming an artist post-college. In their own search for a spiritual home as artists they have helped many students, including the likes of Elvey Anna Stedman, find themselves and their identity.

Mhairi Killin RSA grew up in Greenock and initially studied constructed textiles at Glasgow School of Art from 1986 to 90. She remembers her time at Glasgow as disappointing, in part due to the male dominated teaching environment and the rigid separation between what was considered design and fine art. It was not until she began her Masters in Public Art at Duncan of Jordanstone in 1990 that she felt the freedom to grow as an artist. The course, designed by Ronald Forbes RSA, was revolutionary for her and the self-directed, collaborative, and multi-disciplinary nature brought together students from diverse backgrounds. This environment, supported by Forbes’s belief that artists could make a difference in the community, allowed Killin to explore real-life engagement with public spaces.

Killin’s experience in Dundee set her on the path towards her multi-disciplinary practice, which is defined by the unique culture and landscape of her ancestral home on the Isle of Iona, where she has lived and worked since 1997. As an island artist, her work focuses on 'islandness' not as a romantic periphery, but as a progressive centre.

Michael Agnew RSA was born in Bellshill in 1968 and is a central figure in the lineage of contemporary Scottish printmaking. He began his journey at Gray's School of Art from 1986 to 90, where he was taught early on by Sylvia Wishart RSA and other esteemed artists. Agnew would be most profoundly influenced by his tutor, and subsequently his colleague in printmaking, Lennox Dunbar RSA.

After completing his Masters at the Royal College of Art, Agnew returned to the Granite City to work at Peacock Printmakers in 1992, before joining Dunbar and the printmaking staff at Gray’s in 1993. He would become Head of Printmaking, then Head of Contemporary Art Practice, and is now Head of Fine Art, reflecting the department's institutional shift toward integration. The ethos instilled at Gray’s by tutors such as Lennox Dunbar and Michael Agnew has led to major recognition and success for what is a small art school.

Rosalind Lawless was born in Glasgow in 1978 and trained in Fine Art Printmaking at Gray’s School of Art from 1999 to 2002. Her deep grounding in the medium, overseen by figures like Lennox Dunbar RSA and Michael Agnew RSA, who championed technical and formal experimentation, became the conceptual bedrock for her interdisciplinary practice.

As with other artists in Origin Stories, Lawless travelled to Florence on the RSA John Kinross Scholarship, and in 2022 she received the RSA William Littlejohn Award for Excellence and Innovation in Water-Based Media. Her material-led practice of transforming found and surplus papers and other items from her studio can be traced back to the freedom of her origins at Gray’s. This inspirational teaching culture Lawless experienced is now being channelled back into the next generation of artists in her teaching role at Glasgow College, where she still feels the presence of her tutors, acting as internal guides to her life and her art.

Kate Fahey was born in Kilkenny in 1983. Her conceptual and interdisciplinary practice has its origins in the thorough training she received in printmaking at Gray’s School of Art from 2009 to 2013. The department's ethos was shaped by the influence of Lennox Dunbar RSA and Michael Agnew RSA, whose focus on the experimental freedom of printmaking and its technical and conceptual ecologies shaped her into an independent artist and ultimately a tutor herself.

Entering Gray's as a mature student, Fahey was specifically drawn to the experimental potential of printmaking. The accessible environment of the print workshops and the focused instruction fostered by Dunbar and Agnew ensured she became a 'very technically proficient print maker'. But importantly, this mastery was not merely procedural; her tutors taught her to view process as an 'inherent conceptual aspect' of making art. Now a tutor, Fahey actively seeks to perpetuate the Gray's model, teaching at The School of Arts, Oxford Brookes University and Falmouth School of Art, both relatively autonomous arts schools with similar values.