Looking to Scotland: Art, History, Imagination 1800-1880
Wednesday, 13 November 2013 from 14:00 to 16:30 (GMT)
San Francisco, California
London, United Kingdom
This event examines representations of social and cultural life in Scotland between 1800 and 1880. The purpose of the session is to ask how and why Scotland became a source of fascination for artists interested in landscape, genre, and the modernisation of history painting. A group of distinguished speakers address these matters via key cultural concerns: ideas of the sublime, the picturesque and the beautiful; the representation of ritual and folklore; the depiction of history, heritage and leisure.
2.00 Introduction (Colin Trodd)
2.05-2.25. Hannah Williamson, Curator: Collections Access, Manchester City Galleries: A Highland Romance in Manchester
(Hannah devised A Highland Romance: Victorian Views of Scottishness, Manchester Art Gallery (Gallery 6, September 2013-September 2014)
2.25-2.50. Dr. Frances Fowle (Reader in History of Art and Senior Curator of French Art at the Scottish National Gallery): Picturing the Highlands: Rosa Bonheur's Grand Tour of Scotland
Frances’s books and exhibition catalogues include: Peploe (with Alice Strang and Elizabeth Cumming), (2012); Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880-1910 (R. Rapetti and R.Thomson and F. Fowle eds.), 2012 ; Van Gogh's Twin: The Scottish Art Dealer Alexander Reid, (2010); Impressionism and Scotland (with contributions by V. Hamilton and J. Melville), exh. cat., National Galleries of Scotland, Edinburgh (2008); Monet and French Landscape: Vétheuil and Normandy (2006); Patrick Geddes: The French Connection (ed., with B. Thomson), (2004); Soil and Stone: Impressionism, Urbanism, Environment (ed., with R. Thomson) London (2003)
2.50-3.00 Questions & Answers
3.05-3.25 Dr. Nicholas Tromans (Curator, Watts Gallery): David Wilkie: In Search of an Image of Scotland
Nick’s books and exhibition catalogues include: Richard Dadd: The Artist in the Asylum (2011); Hope: The Life and Times of A Victorian Icon (2011); The Lure of the East: British Orientalist Painting (2008); David Wilkie: The People’s Painter (2007); David Wilkie: Painter of Everyday Life (with Harry Mount and Hamish Strong) (2002);
3.25-3.45. Paul Barlow (Senior Lecturer in the History of Art at the University of Northumbria at Newcastle): Millais's Empty Scotland
Paul’s publications include: Time Present, Time Past: The Art of John Everett Millais (2005); Governing Cultures (with Colin Trodd) (2001); Victorian Culture and the Idea of the Grotesque (with Colin Trodd), (1999).
3.45- 4.05 Questions & Answers followed by closing remarks
4.10- 4.40 Opportunity to see A Highland Romance: Victorian Views of Scottishness, Manchester Art Gallery
In the run up to the referendum on the independence of Scotland in autumn 2014, the display looks at Scottish national identity, principally through nineteenth-century painting. Works from the Gallery’s historic collection --- including Richard Ansdell’s vast stag painting The Chase, Peter Graham’s masterpiece A Spate in the Highlands, and watercolours by JMW Turner are assembled to offer multiple visions of the picturing of Scottishness in a critical moment of social change.