This biography from the Archives of AskART:
| Please note: Artists not classified as American in our database may have limited biographical data
compared to the extensive information about American artists.
 Cameron
trained at the Glasgow and Edinburgh Schools of Art in the early 1880s
and was at first associated with the Glasgow Boys. He became a leader in
the Scottish etching revival, having been encouraged to take up the
medium by George Stevenson in 1887. From 1887 to 1892 he was a member of
the Royal Society of Painter-Etchers. His first published prints were
the Clyde Set (1889; Rinder, 1912, nos 30–49), followed by his London Set (1899; Rinder, 1912, nos 289–301) and a number of continental sets: North Holland, 1892; North Italian, 1894–6; Paris, 1904; Belgian,
1907 (Rinder, 1912, nos 115–36, 202–29, 361–6, 387–96). These show the
influence of Seymour Haden, Whistler and Charles Meryon. Cameron’s
prints include many architectural subjects such as old city streets, and
workshop and church interior views such as the Five Sisters, York Minster
(1907; Rinder, 1912, no. 397). They moved from a picturesque,
illustrative approach in the early works to a highly symbolic use of
central shadow or emanating light. Architecture was increasingly treated
as expressive in its own right and in several cases this was achieved
through a radical reworking which eliminated human forms, as in Rosslyn
(1899; Rinder, 1912, no. 303). From Rembrandt, Cameron evolved a style
of large tonal masses and, in late prints, virtually abandoned middle
tones.
In the twentieth century, Scottish mountain landscape, rendered with strong chiaroscuro, replaced architecture as his chief interest. After Dark Angers
(1903; Manchester, City Art Gallery) Cameron’s oils adopted brighter
light values, encouraged by a trip to Egypt in 1908–9. Paintings
introducing increasingly high colour include his Ben Ledi pictures (following from his famous etching of 1911; Rinder, 1912, no. 424) and the Hills of Skye
(Glasgow, Art Gallery & Museum). During World War I he was
commissioned by the Canadian Government to contribute to its War Record
paintings: this resulted in such works as the Garment of War
(Edinburgh, City Arts Centre). Cameron held many titles and honours,
including election as a member of the Royal Scottish Academy in 1918 and
of the Royal Academy in 1920. In later life he supervised the murals
for St Stephen’s Hall, Palace of Westminster, London, and was closely
involved in the development of the British School at Rome. He was
knighted in 1924 and appointed King’s Painter and Limner in Scotland in
1933.
Collections
Sir David Young Cameron is represented in the following collections:
Dallas Museum of Art, Texas; Indianapolis Museum of Art, Indiana;
National Galleries of Scotland, Edinburgh; The Royal Collection, London;
Art Gallery of Greater Victoria, British Columbia; Ashmolean Museum at
the University of Oxford; Christchurch Art Gallery Te Puna O Waiwhetu,
New Zealand; Cleveland Museum of Art, Ohio; Currier Gallery of Art, New
Hampshire; Hunterian Museum and Art Gallery, University of Glasgow;
Pomona College Museum of Art, California; Tate Gallery, London; City Art
Gallery, Manchester, City Arts Centre, Edinburgh, amongst others.
Source:
Sphinx Fine Art
http://www.sphinxfineart.com/Cameron-Sir-David-Young-DesktopDefault.aspx?tabid=45&tabindex=44&artistid=30044
|
| ** If you discover credit omissions or have additional information to add, please let us know at registrar@AskART.com. |
|
|
|
|
|
|