page_title: James Pittendrigh Macgillivray
hierarchical_section_title: James Pittendrigh Macgillivray
caption_attribution_description: English: James Pittendrigh Macgillivray by Benno Schotz 1922
context_page_description: Dr. James Pittendrigh MacGillivray was a prominent Scottish sculptor. He was also a keen artist, musician and poet. He was born in Inverurie, Aberdeenshire, the son of a sculptor, and studied under William Brodie and John Mossman. His works include public statues of Robert Burns in Irvine, Lord Byron in Aberdeen, the 3rd Marquess of Bute in Cardiff, John Knox in Edinburgh's St Giles Cathedral, and William Ewart Gladstone in Coates Crescent Gardens, Edinburgh.
  After training under Brodie in Edinburgh, Macgillivray worked for nine years in Glasgow as assistant to Mossman and James Steel. In 1894 he returned to Edinburgh, where he lived at "Ravelston Elms" on Murrayfield Road.
  Macgillivray was a Scottish nationalist, and associated both with Patrick Geddes' Fin de Siècle Scottish cultural revival and Hugh MacDiarmid's later Scottish Renaissance movement. He contributed illustrations to the Spring and Autumn volumes of The Evergreen: A Northern Seasonal published by Patrick Geddes and Colleagues in Edinburgh in 1895. He became a member of the Scottish Arts Club in the late 1890s.
  His work was influenced greatly by Pictish designs, and these are on display in Perth.
context_section_description: Dr. James Pittendrigh MacGillivray (1856 – 29 April 1938) was a prominent Scottish sculptor. He was also a keen artist, musician and poet. He was born in Inverurie, Aberdeenshire, the son of a sculptor, and studied under William Brodie and John Mossman.  His works include public statues of Robert Burns in Irvine, Lord Byron in Aberdeen, the 3rd Marquess of Bute in Cardiff, John Knox in Edinburgh's St Giles Cathedral, and William Ewart Gladstone in Coates Crescent Gardens, Edinburgh.
  After training under Brodie in Edinburgh, Macgillivray worked for nine years in Glasgow as assistant to Mossman and James Steel. In 1894 he returned to Edinburgh, where he lived at "Ravelston Elms" on Murrayfield Road.
  Macgillivray was a Scottish nationalist, and associated both with Patrick Geddes' Fin de Siècle Scottish cultural revival and Hugh MacDiarmid's later Scottish Renaissance movement. He contributed illustrations to the Spring and Autumn volumes of The Evergreen: A Northern Seasonal published by Patrick Geddes and Colleagues in Edinburgh in 1895. He became a member of the Scottish Arts Club in the late 1890s.
  His work was influenced greatly by Pictish designs, and these are on display in Perth. Alloway village hall contains his sculpture of Robert Burns.
  He became a member of the Royal Scottish Academy in 1901 and designed the Academicians' robes. He was appointed the King's Sculptor in Ordinary for Scotland in 1921.  He was influential in the development of Arts teaching in Scotland, being associated with the establishment of Edinburgh College of Art.  In 1904 he wrote a Special Report on the Schools of Art in Scotland and in 1906 a report on the creation of a Municipal Art School in Edinburgh, drawing on his knowledge of practice in Brussels, Berlin and Paris.
  MacGillivray also published two volumes of poetry in Scots – Pro Patria in 1915 and Bog Myrtle and Peat Reek in 1922.  
  He was a member of Glasgow Art Club for over fifty years, closely associating himself with the Glasgow Boys. On the evening of 28 October 1932 the Club hosted a dinner in his honour (with fellow honoree fellow club member James B. Anderson ARSA.) He was also a co-founder with James Paterson, E.A. Hornel and George Henry of "The Scottish Arts Review".
  He is buried in the tiny Gogar Kirkyard, close to the Royal Bank of Scotland headquarters at Gogarburn, with his wife Frieda who died in 1910. The grave is of his own design, depicting them side by side. Their daughter Ina MacGillivray (1887–1917) and Ehrna (1892–1966) are buried with them.
caption: James Pittendrigh Macgillivray by Benno Schotz 1922
exif: {"Image Make": "Canon", "Image Model": "Canon EOS 450D", "Image Orientation": "Rotated 90 CW", "Image XResolution": "72", "Image YResolution": "72", "Image ResolutionUnit": "Pixels/Inch", "Image DateTime": "2017:12:20 15:35:32", "Image YCbCrPositioning": "Co-sited", "Image ExifOffset": "196", "Thumbnail Compression": "JPEG (old-style)", "Thumbnail XResolution": "72", "Thumbnail YResolution": "72", "Thumbnail ResolutionUnit": "Pixels/Inch", "Thumbnail JPEGInterchangeFormat": "9648", "Thumbnail JPEGInterchangeFormatLength": "6948", "EXIF ExposureTime": "1/5", "EXIF FNumber": "5", "EXIF ExposureProgram": "Program Normal", "EXIF ISOSpeedRatings": "1600", "EXIF ExifVersion": "0221", "EXIF DateTimeOriginal": "2017:12:20 15:35:32", "EXIF DateTimeDigitized": "2017:12:20 15:35:32", "EXIF ComponentsConfiguration": "YCbCr", "EXIF ShutterSpeedValue": "19/8", "EXIF ApertureValue": "37/8", "EXIF ExposureBiasValue": "0", "EXIF MeteringMode": "Partial", "EXIF Flash": "Flash did not fire, compulsory flash mode", "EXIF FocalLength": "39", "EXIF SubSecTime": "69", "EXIF SubSecTimeOriginal": "69", "EXIF SubSecTimeDigitized": "69", "EXIF FlashPixVersion": "0100", "EXIF ColorSpace": "sRGB", "EXIF ExifImageWidth": "3088", "EXIF ExifImageLength": "2056", "Interoperability InteroperabilityIndex": "R98", "Interoperability InteroperabilityVersion": "[48, 49, 48, 48]", "EXIF InteroperabilityOffset": "9506", "EXIF FocalPlaneXResolution": "1544000/439", "EXIF FocalPlaneYResolution": "257000/73", "EXIF FocalPlaneResolutionUnit": "2", "EXIF CustomRendered": "Normal", "EXIF ExposureMode": "Auto Exposure", "EXIF WhiteBalance": "Manual", "EXIF SceneCaptureType": "Standard"}