A Scottish Art and Heart: The Transparent Influence of the Scottish School of Art on Erskine Nicol’s Depictions of Ireland
From the 1820s onwards, British art critics spoke of a Scottish school of art, which could be identified by its style and themes. The school comprised landscape painters, such as Horatio McCulloch (1805–1867), who celebrated the beauty of the Highlands, or genre painters, who represented the everyda...
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| Vydáno v: | URI:https://journals.openedition.org/etudesecossaises, |
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| Hlavní autor: | |
| Médium: | Article ou chapitre numérique |
| Jazyk: | Anglais |
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Études écossaises
2013
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| Témata: | |
| On-line přístup: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Shrnutí: | From the 1820s onwards, British art critics spoke of a Scottish school of art, which could be identified by its style and themes. The school comprised landscape painters, such as Horatio McCulloch (1805–1867), who celebrated the beauty of the Highlands, or genre painters, who represented the everyday life of Scottish peasants, like David Wilkie (1785–1841). The work of the Scottish painter Erskine Nicol (1825–1904) also seems to fit in this artistic trend, as he chose to depict Ireland with scenes of rural life. However, some features of the Scottish school, such as its illustration of national history, or its focus on the Highlands, do not appear directly in his compositions. Moreover, they usually represent Ireland rather than Scotland, so that one may wonder if Nicol can be regarded as a painter of the Scottish school. With an analysis of the painter’s works, as well as an examination of the Scottish school and its characteristics, this paper shows how Nicol’s depictions of Ireland can be associated with the school of his fellow countrymen. |
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