This thesis takes the form of a biographical study of the art teacher and painter Francis Henry Newbery. Its focus is Newbery’s thirty-three year association with the Glasgow School of Art. The first two chapters examine Newbery’s early life and his educational background in Dorset and London where he attended the National Art Training School at South Kensington. John Beard, Newbery’s headmaster at the Bridport General School in Dorset, the educational theory of Friedrich Froebel and the modern approach to art teaching of Edward Poynter the Principal of the National Art Training School are all identified as formative influences in the development of Newbery’s own approach to pedagogy at Glasgow. The first two chapters are also concerned with Newbery’s training as a student and an art master under the Department of Science and Art and examine how the Department’s system operated in Bridport School of Art, a small school in a rural county. This acts as an introduction to Chapter 3 in which the development of the very different Glasgow School of Art in the years preceding Newbery’s arrival is examined. Chapters 4 and 5 are both concerned with Newbery’s adaptation of a pupil-centred approach to the requirements of the Department of Science and Art’s regime. Chapter 6 discusses Newbery’s association with the Arts and Crafts movement and views his introduction of craft studios at Glasgow School of Art against a national and local educational background. Chapter 7 looks at the development of the Glasgow Style in the Glasgow School of Art and identifies Newbery’s role as an encourager and promoter of the style. It sees the Style as growing out of the design ideology and teaching which was available in the School. The Arts and Crafts movement, however, with the new exhibition opportunities which it made available is seen more as a context in which the new form language could thrive rather than a source for the style itself. Chapter 8 reviews Newbery’s part in the building of a new School of Art to the design of Charles Rennie Mackintosh and demonstrates the headmaster’s crucial role in the planning of the building and his overriding concern for functional accommodation. Chapter 9 examines Newbery’s development of his own educational regime after the School had severed its links with South Kensington in 1901. It shows how he was able to build on his School’s reputation through its association with the Glasgow Style to attract highly capable practical artists and craftspeople to teach on its staff. It also examines how Newbery and his governors sought to develop a teaching practice based on the best British and continental models with varying degrees of success. Chapter 10 discusses the measures that Newbery took to increase and develop the artistic culture of Glasgow and Scotland through the medium of the School and its influence. Chapter 11 looks at Newbery’s work as an artist and examines his oeuvre in the context of his educational ideas and late nineteenth century movements. The years of Newbery’s retirement in which he was extremely active are also examined in this context.