Contributor: Fanny Lacôte
Location: Scottish National Gallery, Edinburgh, Scotland
Description: The painting The Monarch of the Glen (c. 1851), by Sir Edwin Landseer (1802-1873), has become a quintessentially Scottish image. The most ‘[…] potent, visual evocation of Scotland’s impact upon the popular imagination’, according to Scottish artist Lachlan Goudie, ‘it’s right up there with bagpipes, tartan and a mouthful of shortbread’. Until 2017, The Monarch of the Glen remained in private and corporate collections. Following a public appeal in 2016, the National Galleries of Scotland purchased the painting from the Diageo drinks conglomerate for £4 million.
Its iconic dimension set aside, The Monarch of the Glen is also a late expression of the Romantic era, and Sir Edwin Landseer’s homage to Highland Romanticism. The English romantic artist became a regular visitor to Scotland from 1824 onwards, combining hunting expeditions with sketching trips. Commissioned to hang in the House of Lords refreshment rooms, The Monarch of the Glen was painted in Landseer’s studio in London, and is considered a triumph of Victorian Romanticism. The English work crystallised romantic representations of the Scottish Highlands, with its wilderness, its sublime landscapes and sweeping vistas, castles, waterfalls, and herds of deer.
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Contributor: Jonathan Falla
Location: Old Military Road, by Dunkeld, Perth & Kinross PH8 0JR, Scotland UK
Description: Overlooking a small but dramatic waterfall complete with leaping salmon, there stands this curious stone gazebo or folly, reached by a pleasant woodland walk. Originally named the Hermitage, as ‘Ossian’s Hall’ this became one of the most visited sites in all Romantic Scotland.
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Contributor: Nigel Leask
Location: National Trust, Isle of Staffa, Inner Hebrides, Scotland; Thomas Pennant, Tour in Scotland and Voyage to the Hebrides in 1772, 2 vols (2nd ed., London 1776), f.p.301. ‘Fingal’s Cave in Staffa’: engraving by Thomas Major, based on a drawing by James Miller.
Description: In the late summer of 1772, just a year or so after his return from exploring the Pacific with Captain Cook, Joseph Banks mounted his own expedition to Iceland via the Hebrides. On 13th August, Banks and his party, including the artist James Miller, explored, measured, and drew Staffa. The account we have is excerpted from Banks’ journal, edited and published in his friend Thomas Pennant’s Tour in Scotland 1772; poor weather had prevented Pennant from landing on the island earlier that summer, so Banks’ account supplied that deficiency. Banks claimed to have discovered ‘a cave, the most magnificent, I suppose, that has ever been described by travellers.’ ‘We asked the name of it,’ writes Banks. ‘Said our guide, “The cave of Fhinn”. “What is Fhinn?” said we. “Fhinn Mac Coul, whom the translator of Ossian’s Works has called Fingal.” How fortunate that in this cave we should meet with the remembrance of that chief, whose existence, as well as that of the whole Epic poem is almost doubted in England.’ To this account may be traced the birth of one of Scotland’s leading tourist destinations in the Romantic era.
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