Portrait of James Morison of Naughton with his Grand-daughter by David Wilkie (1785-1841) captures an older man, James Morison, looking directly at the viewer with a soft expression and his hand draped over the shoulder of a young girl, his granddaughter, whose own hand is draped over a sheepdog's head. Wilkie captures their faces in realistic detail, blending paint strokes together to make up the shadows below the brows and nose, in combination with the rosiness of their cheeks to create a sense of life to the sitters. The dog's fur contains wider, curved strokes of paint to convey the layers of hair. These wider brush strokes also make up the girl's dress, where each stroke is visible, unlike in the blended brown paint strokes of Morison's suit jacket. The details and the posing of the sitters present an intimate scene. 

Wilkie was well known for painting portraits, often commissioned to do such work, and his ability to capture intimate moments with his sitters. Wilkie's sitters often contained family units, also reflective of domestic life. 

Sir David Wilkie RA, 1785-1841

In the first three decades of the nineteenth century Sir David Wilkie stood alongside Constable and Turner as one of the three greatest British painters of the period; indeed, in his own lifetime his reputation - nationally and internationally - was as high as or higher than that of the other two. Wilkie was a pre-eminent genre painter with an exceptional gift for observation of character, his early work being in the manner of the Dutch painters Ostade and Teniers. It is no exaggeration to say that all Victorian genre painting in England and Scotland derives from Wilkie. Subsequently he turned to historical genre and, later, to portraiture. His work attracted the wildest popularity, particularly through the medium of engravings. 

Born in Cults, in Fife, the third son of the parish minister, Wilkie enrolled for art classes at the Trustees' Academy in Edinburgh when he was fourteen. In 1805 he moved to London, studying at the Royal Academy Schools. The following year he exhibited The Village Politicians at The Royal Academy and became an overnight success. Thereafter his rise to fame was meteoric. When his masterpiece Chelsea Pensioners (celebrating Wellington's victory at Waterloo) was exhibited at the academy in 1822 at the astonishing price of 1200 guineas [£1260], there was such a clamour to view the painting that a crush barrier had to be erected to protect it, a previously unheard of measure.