An oil painting, The Lynn of Morvern, by David Young Cameron (1865-1945) depicts a rocky landscape with a setting or rising sun over the mountains, whose rays are reflecting across the water. This painting is in varying shades of purple, red, orange, and white which creates a darker atmosphere. Cameron's use of texture differentiates the sky and water despite their similar colour composition, as well as allowing the sun's illuminance against the clouds and ripples of the water to be seen. The artist's mastery of light and shade which creates an illusion of depth comes across in this painting through the control over the different shades of purple and red, particularly among the mountains and hills. Cameron's use of shade and colour variation portrays the overall intense mood of the landscape and evokes a sense of serenity. 

The waterways and mountainous peaks of Scotland were a popular subject throughout Cameron's paintings, reflecting his interest in portraying the Scottish landscape in a new way through his use of light and dark contrasts. His interest also led him to explore how sunsets and sun over water could be captured in oil painting, seen in this work with his capture of the sun illuminating the mountains and water. Cameron was well known for capturing 'stillness' in his work through calm waters and cool tones, creating a poetic atmosphere within his work. While Cameron was a prominent etcher, he is also well known for his oil paintings depicting Scottish landscapes because of his ability to capture the vastness and depth of mountains. 

Sir David Young Cameron RA RSA RWS RSW, 1865-1945

Cameron was a man of considerable importance and influence in British art circles in the 1920s and 1930s. His paintings attracted great critical acclaim and were acquired by many public art galleries in Britain and abroad. Sadly, the majority are today hidden in storerooms. Cameron's commitment to art extended well beyond the boundaries of the studio. During the second half of the First World War Cameron served as a war artist for the Canadian Government; he supervised the decoration of St. Stephen's Hall in the Houses of Parliament and of the rebuilt bank of England; he was associated with the British School in Rome for over twenty-five years; he was Trustee of the Tate Gallery and of the National Galleries of Scotland; and in 1933 he was appointed King's Painter and Limner in Scotland, an office previously held by Raeburn and Wilkie. Cameron was a son of the manse who’s deeply held religious faith was an important element throughout his life and imbued much of his work, particularly his landscapes. He devoted considerable time and energy to the Church of Scotland, advising many congregations on the redecoration of the churches.
Born in Glasgow, Cameron probably inherited his artistic ability from his mother, a talented amateur watercolourist, as did his sister, the watercolourist and etcher Katharine Cameron. While working in a Glasgow office he attended classes at Glasgow School of Art, and in 1884 he gave up office work -which he hated - in favour of painting, enrolling at Edinburgh School of Art, where fellow artists included W.M. Frazer and James Pryde.
However, it was as an etcher that Cameron first came to prominence. Like Rembrandt, who was a profound influence, Cameron was a master of light and shade, whether in a landscape, a street scene or one of his atmospheric church interiors. Over a period of some forty-five years he produced about 520 etchings and drypoints, becoming, with fellow Scots Muirhead Bone and James McBey, one of the foremost British etchers of the Etching Revival of 1880-1930.
Today Cameron is remembered as a painter of the Scottish landscape. However, his oevre included figure subjects and portraits, townscapes and architectural subjects as well as landscapes. He travelled widely throughout a long working life. His oils and watercolours show a remarkable ability to convey the character and spirit of a place.