By the end of the eighteenth century genre art had become a Scottish speciality, with artists including Alexander Carse (c. 1770–1843) and Walter (or William) Weir (d. 1865) following Allan into the form.D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , p. 165. Carse was probably a student of Allan and his watercolour of Oldhamstocks Fair of 1796, the year of Allan's death, can be seen as a tribute to the older artist. His most notable works in the tradition were Leith Races, Return from Leith Races (both 1794) and Visit of the Country Relations (1812), which pioneered the sociological study of urban and rural life, anticipating later work by David Wilkie, with whom he would be a competitor. Both Carse and Wilkie exhibited paintings with the title The Penny Wedding in 1818. Weir produced two drawings illustrating "Hallowe'en" (1816) by Robert Burns.D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , pp. 179–80.  David Wilkie Pitlessie Fair (1804) The tradition was taken up most successfully by David Wilkie (1785–1841), often noted as the founder of the British tradition of genre painting.M. MacDonald, Scottish Art (London: Thames and Hudson, 2000), , pp. 84–7. Wilkie worked mainly in London, and produced the flattering painting of the King George IV in Highland dress commemorating the royal visit to Scotland in 1823 that set off the international fashion for the kilt. He became Royal Limner in 1823 and would emerge of one of the most influential British artists of the century.I. Chilvers, ed., The Oxford Dictionary of Art and Artists (Oxford: Oxford University Press, 4th edn., 2009), , pp. 678–9. After a tour of Europe Wilkie was increasingly influenced by Renaissance and Baroque painting and he became most famous for his anecdotal paintings of Scottish and English life. The first indication of this direction in his was his illustration of The Gentle Shepherd (before 1797). His Pitessie Fair (1804) was based on Robert Burns poems "The Vision" and "The Holy Fair".D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , pp. 165–7. His work on themes of Scottish everyday life included Village Politicians (1806), The Blind Fiddler (1806), Distraining for Rent (1815) and The Penny Wedding (1818). His most famous work was The Chelsea Pensioners reading the Waterloo Dispatch, which was one of the most popular exhibitions in London in 1822. His sketch Knox preaching before the Lords of the Congregation (1822), dealt with the historic themes that would become a major part of Scottish painting in the second half of the century and he would also be a major influence on oriental painting. William Home Lizars, The Reading of the Will (1811) Less well known contemporaries of Wilkie that pursued genre art included William Home Lizars (1788–1859), who was a student with Wilkie at the Trustees Academy. He exhibited two genre paintings in 1811: A Scotch Wedding and The Reading of the Will, which demonstrate humour and seem to relate to the early work of Wilkie, who painted his own version of the later in 1820. Shortly after this Lizars turned to engraving for a living.D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , pp. 180–1. William Shiels (1785–1857) is mainly known as an animal painter, but he also created genre art. James Howe (1780–1836) also undertook genre art with an agricultural dimension. Most influenced by Wilkie were his close friends John Burnet (1784–1868), William Allan (1782–1850), Alexander George Fraser (1786–1865) and Andrew Geddes (1783–1844). The first three were all contemporaries of Wilkie at the Academy, while Geddes was self-taught. Burnet and Fraser worked closely with Wilkie in London, while Geddes and Allan stayed in touch with him throughout his career. Allan became Master of the Trustees Academy and later President of Royal Scottish Academy and so was able to pass on Wilkie's influence. He produced genre paintings including Christmas Eve (undated), which is a variation on Wilkie's A Penny Wedding.D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , pp. 181–3.
By the end of the eighteenth century genre art had become a Scottish speciality, with artists including Alexander Carse (c. 1770–1843) and Walter (or William) Weir (d. 1865) following Allan into the form.D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , p. 165. Carse was probably a student of Allan and his watercolour of Oldhamstocks Fair of 1796, the year of Allan's death, can be seen as a tribute to the older artist. His most notable works in the tradition were Leith Races, Return from Leith Races (both 1794) and Visit of the Country Relations (1812), which pioneered the sociological study of urban and rural life, anticipating later work by David Wilkie, with whom he would be a competitor. Both Carse and Wilkie exhibited paintings with the title The Penny Wedding in 1818. Weir produced two drawings illustrating "Hallowe'en" (1816) by Robert Burns.D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , pp. 179–80. upPortrait by David Wilkie depicting King George IV during his 1822 trip to Scotland David Wilkie Pitlessie Fair (1804) William Home Lizars, The Reading of the Will (1811) The tradition was taken up most successfully by David Wilkie (1785–1841), often noted as the founder of the British tradition of genre painting.M. MacDonald, Scottish Art (London: Thames and Hudson, 2000), , pp. 84–7. Wilkie worked mainly in London, and produced the flattering painting of the King George IV in Highland dress commemorating the royal visit to Scotland in 1822 that set off the international fashion for the kilt. He became Royal Limner in 1823 and would emerge of one of the most influential British artists of the century.I. Chilvers, ed., The Oxford Dictionary of Art and Artists (Oxford: Oxford University Press, 4th edn., 2009), , pp. 678–9. After a tour of Europe Wilkie was increasingly influenced by Renaissance and Baroque painting and he became most famous for his anecdotal paintings of Scottish and English life. The first indication of this direction in his was his illustration of The Gentle Shepherd (before 1797). His Pitessie Fair (1804) was based on Robert Burns poems "The Vision" and "The Holy Fair".D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , pp. 165–7. His work on themes of Scottish everyday life included Village Politicians (1806), The Blind Fiddler (1806), Distraining for Rent (1815) and The Penny Wedding (1818). His most famous work was The Chelsea Pensioners reading the Waterloo Dispatch, which was one of the most popular exhibitions in London in 1822. His sketch Knox preaching before the Lords of the Congregation (1822), dealt with the historic themes that would become a major part of Scottish painting in the second half of the century and he would also be a major influence on oriental painting. Less well known contemporaries of Wilkie that pursued genre art included William Home Lizars (1788–1859), who was a student with Wilkie at the Trustees Academy. He exhibited two genre paintings in 1811: A Scotch Wedding and The Reading of the Will, which demonstrate humour and seem to relate to the early work of Wilkie, who painted his own version of the later in 1820. Shortly after this Lizars turned to engraving for a living.D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , pp. 180–1. William Shiels (1785–1857) is mainly known as an animal painter, but he also created genre art. James Howe (1780–1836) also undertook genre art with an agricultural dimension. Most influenced by Wilkie were his close friends John Burnet (1784–1868), William Allan (1782–1850), Alexander George Fraser (1786–1865) and Andrew Geddes (1783–1844). The first three were all contemporaries of Wilkie at the Academy, while Geddes was self-taught. Burnet and Fraser worked closely with Wilkie in London, while Geddes and Allan stayed in touch with him throughout his career. Allan became Master of the Trustees Academy and later President of Royal Scottish Academy and so was able to pass on Wilkie's influence. He produced genre paintings including Christmas Eve (undated), which is a variation on Wilkie's A Penny Wedding.D. Macmillan, Scottish Art 1460–1990 (Edinburgh: Mainstream, 1990), , pp. 181–3.
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upPortrait by David Wilkie depicting King George IV during his 1822 trip to Scotland
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William Home Lizars, The Reading of the Will (1811) The
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William Home Lizars, The Reading of the Will (1811)