Often overshadowed by her brother Frederick Sandys, Emma Sandys was a gifted pre-Raphaelite painter in her own right. She was influenced by medieval styles and Arthurian legends, and her work typically depicts women in a form of reverie, as is the case in this portrait. The painting radiates a calm serenity as the figure dreams.

Barns-Graham's work as one of the most distinguished abstract artists in Britain is known for its uncanny ability to depict how energy forms and dissolves. She often turned to the sea as a subject of her art, influenced by her time spent in St Andrews and St Ives. In Overflow, she exposes the dynamism of a surging wave. Wilhelmina Barns-Graham was greatly influenced by D'Arcy Thompson's On Growth and Form and met him as a child in St Andrews.

Stylistically influenced by French Impressionism, Cadell depicts a woman who appears to be having tea in bed. She pensively gazes into the mirror, where a twin image of herself is born. This astute painting provokes contemplation of the self we present to the world and who we are in our most unguarded moments.

As one of the Scottish Colourists, like Cadell, Hunter was influenced by the spirit of the Impressionism movement, as well as their fascination with Japanese culture and balance. While he painted many still lifes, this one stands apart in its gentle tones and brightness. In the 1920s, Hunter said of art, "Seek harmony not contrast. Go from light to dark, not from dark to light. Your work is never light enough. The eye seeks refreshment in painting. Give it joy not mourning."

Born in Dundee, Joseph Johnston Lee is known for his war poetry, journalism, and sketches. The subject of Young Woman diverges greatly from his wartime themes and is a solemn, fond meditation.

This screenprint is a part of Renee Hunter's endeavour to breathe new life into the folk tales of South Ayrshire, such as those of Johnnie Faa, the gypsy king, Maggie Osborne, a witch, and Sweeney Todd, the infamous demon barber. In the tale of Johnnie Faa, he woos a maiden already wed to another, resulting in his own death and her imprisonment. Interested in Carl Jung, myth, and the subconscious, Hunter, a 2019 DJCAD graduate, said, "The world has become driven by what the future holds, rather than learning from our forebearers. I found it important to bring each tale to the modern-day, using imagery such as cars to show that myth depicts human existence, the world we live in, and how we process what daily life presents."

Stewart Carmichael was one of Dundee's most prominent artists and a leader in the Celtic Revival movement. He studied art in Belgium and France, and his portraits are known for their almost effortless intimacy between subject and viewer—fully honest, fully charitable, and fully beautiful.

Robertson is a Fife-based artist that merges abstraction and carefully-wrought depictions of the natural world. Many of his works comment upon loss of biodiversity and habitats, migration, and dystopia. In Squirrel, the ambient flecks of blue and red in this autumnal print serve to mimic the dissolving habitat, heighten our understanding of the creature's emotional state, and beckon us forward in time with ominous splatters like blood on the squirrel's side.

In this unique seascape, dabbles and brushstrokes evoke the emotion of salt water striking the rocks scattered upon the beach. The scene is misty and opaque, and the mood is turbulent, drawing us into the mysterious clamour of the action. Viewers may begin to question where the sea ends and the beach begins.

In religious art, blue typically represents heavenly grace and is especially associated with the Virgin Mary. In interesting contrast to her pale blue mantle is the skull Mary Magdalene grasps; it could be a reminder of human mortality, a reference to her presence at Golgotha during the Crucifixion, a nod to her skull purportedly kept in St. Maximin, France, or a representation of how she was dead in her sin before meeting Christ. A single tear falls as she gazes heavenward.

This is a far calmer rendering of the sea than Ewans'. The incoming roll of waves, hemmed in gold, refracts light upwards. It is a scene that at once feels sublimely blessed and wonderfully ordinary.

Moira Macgregor began her career creating fashion illustrations, later branching out into oil paintings, collage, watercolour, and more. View from Window, Paris is a fascinating piece due to how it depicts Paris, a place full of colour and wonder, in a largely desaturated manner. Macgregor's lines are strong and detailed, providing a framework that the viewer can utilise to imagine the atmosphere of the scene or even insert their own memories and sensations within.

Tod's artwork typically focuses on bright botanical themes, and this oil painting is no exception. In Greenhouse, vines, potted plants, and bushes intermingle to form a contained jungle. However, this is not portrayed as a harsh, confining existence; everything appears to breathe, thrive, and flourish.

The master of a rich, bold colour palette, the Scottish artist Alberto Morrocco studied in France, Italy, and Switzerland. This painting shows more restraint than Morrocco's usual joie de vivre with the sitter's pursed lips, focused gaze, and earthy attire. However, the robust pink background still brightens the piece, illuminating Margaret's youth and rosy cheeks.

The organic forms in this piece bend and grow, reconciling with the more manufactured arcs and lines of the café itself. This is a moving minimalistic image of symbiosis and pastel harmony.