They felt they were connected to the expressionist tradition of Bosch, Bruegel, Courbet, Munch and the German Expressionists. Bellany’s paintings grew more sinister and radical in the 60s and 70s, with birds, fish and animals being used to represent death, guilt and sexual obsession and acidic colours and broad brushwork almost approaching abstraction. The 1980s were a time of serious illness for Bellany but he continued to work, with his paintings still evoking symbolism but moving away from his experimental techniques.
‘Scottish Mother and Child’ was a gift from Bellany to the medical professionals in Glasgow who cared for him after he suffered a heart attack. It was thought the most appropriate place for the painting was in the College. It is recognisable as a Bellany through its bright colours, typical fishing village subject and most importantly, its use of symbolism, with a fish looming over the woman’s head, suggesting a dark undertone to the painting.