Scottish art in the nineteenth century is the body of visual art made in Scotland, by Scots, or about Scottish subjects. This period saw the increasing professionalisation and organisation of art in Scotland. Major institutions founded in this period included the Institution for the Encouragement of the Fine Arts in Scotland, the Royal Scottish Academy of Art, the National Gallery of Scotland, the Scottish National Portrait Gallery and the Glasgow Institute. Art education in Edinburgh focused on the Trustees Drawing Academy of Edinburgh. Glasgow School of Art was founded in 1845 and Grays School of Art in Aberdeen in 1885.

Henry Raeburn, most famous for his intimate portraits of leading figures in Scottish life, was the first significant artist to pursue his entire career in Scotland. His pupils included the brothers William, Archibald and Andrew Robertson. The next generation of portrait painters included David Watson and John Watson Gordon. Significant Glasgow artists included John Graham-Gilbert and Daniel Macnee. David Wilkie emerged as of one of the most influential British artists of the century in a variety of forms. Alexander Nasmyth helped formulate the tradition of Scottish landscape painting, which focused in the mid-nineteenth century on the Highlands. It was taken into the late nineteenth century by artists including Horatio McCulloch, Joseph Farquharson and William McTaggart. Towards the end of the century a number of artist colonies were founded, particularly in coastal communities such as Pittenweem and Kirkcudbright. Wilkie was instrumental in the development of genre painting, which was pursued by artists including John Burnet, Alexander George Fraser and Walter Geikie. He also helped inspire the interest in Spanish and oriental painting, continued by William Allan, David Roberts and John Phillip. (Full article...)

Carl Grosz Karoly or Karl Gross (US: /ˈkɑːˌrɔɪ ˈɡroʊs/, KAH-roy GROHSS; Hungarian: [ˈkaːroj ˈɡroːs]; March 9, 1897 – May 14, 1952) was a Hungarian–American illustrator of Classical Hollywood–era film posters. As art director at Universal Pictures for the bulk of the 1930s, Grosz oversaw the company's advertising campaigns and contributed hundreds of his own illustrations. He is especially recognized for his dramatic, colorful posters for classic horror films. Grosz's best-known posters advertised early Universal Classic Monsters films such as Dracula (1931), Frankenstein (1931), The Mummy (1932), The Invisible Man (1933), and Bride of Frankenstein (1935). Beyond the horror genre, his other notable designs include posters for the epic war film All Quiet on the Western Front (1930) and the screwball comedy My Man Godfrey (1936).

Original lithograph copies of his poster art are scarce and highly valued by collectors. Two posters illustrated by Grosz—ads for Frankenstein and The Mummy, respectively—have set the auction record for the world's most expensive film poster. The latter held the record for nearly 20 years and, at the time of its sale in 1997, it may have been the most expensive art print of any kind, including other forms of commercial art as well as fine art. The reference website LearnAboutMoviePosters (LAMP) noted that, as of August 2016, Grosz appeared more than any other artist on its comprehensive list of vintage film posters sold for at least $20,000. (Full article...)

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