art-scot 9 turns to humans as artistic subjects - portraits commissioned to flatter or promote; portraits that use the human form as an object for art; portraits that ask us to join with the characters and live inside the painting; portraits of decay and death. Douglas Erskine considers Sandy Moffat's 1960s work in an existential framework; Rosie Shackleton explores legacy, change and decay with Ragnar Lochhead; Jane Adamson pins portraits on to a map of the River Tay; and Roger Spence meets Rosemary Beaton, who has been exploring the human body and psyche for forty years. Robert De Mey is an outlier inasmuch as his subject, Millie Frood, rarely painted people, but he gives us the most substantive portrait of the artist that we have on record to date.