Painting a cold, dark land

The rise of Romanticism meant that the Scots were no longer defined (by themselves or others) as a marginal, occupied people; they were now dramatic, rugged primitives. What then to do with their landscape, which might be considered by any objective person as intimidating, cold, dark and empty? Romanticize it, of course!

Alexander Nasmyth (1758-1840) is generally considered the founder of the Scottish romantic landscape tradition. Trained under Allen Ramsey as a portrait painter, he abandoned that genre entirely for landscape painting. The generation of landscape painters that followed popularized the romantic view of Scotland. These included Horatio McCulloch, William McTaggart, and Joseph Farquharson. McCullogh’s images of the Scottish highlands, in particular, were reproduced and displayed in homes throughout Great Britain.

When Queen Victoria acquired Balmoral Castle in 1848, she was operating within a growing fashion for things Scottish. A Scottish Grand Tour developed, with large numbers of English artists flocking to the Highlands to paint and draw. A whole series of seashore artists’ colonies developed in Scotland to cater to that new fad, plein airpainting.

There are obvious aesthetic similarities between the Scottish romantics and their Hudson River counterparts. There are also ideological parallels between the Scots, the Canadian Group of Seven and the Australian Heidelberg School. All three helped define and champion nationalist self-image and goals. And the gap between what was real and what they painted is well worth considering.