Art History Masters Theseshttps://hdl.handle.net/10023/25772024-03-29T07:49:38Z2024-03-29T07:49:38ZThe Lothian picture collection : history and contextWenley, Roberthttps://hdl.handle.net/10023/259302022-09-01T14:52:36Z1991-03-08T00:00:00ZThe historic picture collection of the earls and marquises of Lothian
hung, until the middle of this century, at their Sottish seat, Newbattle Abbey
(near Edinburgh). The first pictures came to the house in the mid-sixteenth
century, and were continually added to until 1900. This thesis reconstructs
the contents of that collection, now dispersed, by tracing the contribution
to it of the successive owners. A parallel aim is to put each collector,
and the collection as a whole, in a national and historic context, thus
reflecting developments of taste within both the family and the nation. A
detailed analysis of each picture has not been attempted.
Chapter I provides an account of the changing architectural context of the
collection. Chapter II is concerned with the artistic interests of the
earlier members of the family. Chapter III deals with the 1st Earl of
Ancram, whose son became 3rd Earl of Lothian by marriage, and who himself
had an important role in the cultural history of Britain. Chapters IV and
V analyse in detail the extensive acquisitions of the 3rd earl, and of his
son, the 1st marquis, respectively. Chapter VI covers the years 1703-1853,
when relatively few pictures were added. Chapter VII is devoted to the 8th
marquis, a collector of national importance; his book on Italian
history, literature and art is also briefly examined. Chapter VIII traces the
additional purchases made by his brother, the 9th marquis, with whose death
the period of collecting at Newbattle came to a close. A final chapter records the recent history of the collection.
Volume II contains a complete catalogue of all the pictures known to have hung at Newbattle, so far as it can be reconstructed. This volume also contain the illustrations.
1991-03-08T00:00:00ZWenley, RobertThe historic picture collection of the earls and marquises of Lothian
hung, until the middle of this century, at their Sottish seat, Newbattle Abbey
(near Edinburgh). The first pictures came to the house in the mid-sixteenth
century, and were continually added to until 1900. This thesis reconstructs
the contents of that collection, now dispersed, by tracing the contribution
to it of the successive owners. A parallel aim is to put each collector,
and the collection as a whole, in a national and historic context, thus
reflecting developments of taste within both the family and the nation. A
detailed analysis of each picture has not been attempted.
Chapter I provides an account of the changing architectural context of the
collection. Chapter II is concerned with the artistic interests of the
earlier members of the family. Chapter III deals with the 1st Earl of
Ancram, whose son became 3rd Earl of Lothian by marriage, and who himself
had an important role in the cultural history of Britain. Chapters IV and
V analyse in detail the extensive acquisitions of the 3rd earl, and of his
son, the 1st marquis, respectively. Chapter VI covers the years 1703-1853,
when relatively few pictures were added. Chapter VII is devoted to the 8th
marquis, a collector of national importance; his book on Italian
history, literature and art is also briefly examined. Chapter VIII traces the
additional purchases made by his brother, the 9th marquis, with whose death
the period of collecting at Newbattle came to a close. A final chapter records the recent history of the collection.
Volume II contains a complete catalogue of all the pictures known to have hung at Newbattle, so far as it can be reconstructed. This volume also contain the illustrations.The House of Dun, c.1720-c.1750 : inception, development and realisationKay, William R. M.https://hdl.handle.net/10023/255722022-06-30T09:30:27Z1987-07-01T00:00:00ZThe House of Dun (near Montrose) was built to designs by William
Adam (1689-1748) for David Erskine, Lord Dun (1673-1758), a judge of
the court of session. The history of its inception is complex and
intriguing. First proposals for the house were drawn up by
Alexander McGill (d.1734) in January 1723. These were sent for the
appraisal of Lord Dun's cousin, the exiled Jacobite John Erskine,
Earl of Mar (1675-1732), an amateur architect of considerable
ability. Mar provided counter-proposals for a house on a square
plan dated Paris, April 1723, and a scheme for an elaborate formal
garden. Neither McGill's nor Mar's designs were realised.
William Adam subsequently provided two designs (both
illustrated in Vitruvius Scoticus) for the house, the second of
which was realised. Although the house has a datestone which bears
“1730", documentary evidence suggests that Adam's final plan was
arrived at after his earlier version had been ammended by Mar in
1731. The resulting design is the product of a symbiotic exchange
of ideas in which Adam developed the triumphal arch motif for the
main facade of the house first suggested by Mar in 1723 and again in
1731.
The various schemes are documented in the form of both
monograph reports, and in Mar's case, several original drawings.
The main sources for these are the Erskine of Dun MSS at the
Scottish Record Office, Edinburgh: GD 123, and West Register House
for Mar's drawings plus one letter (RHP 13256-8, 13288/1-8 and
13289). Notable for its plasterwork by Joseph Enzer (d.1743),
several accounts for the fitting-up of the house survive, as well as
unattributed pencil sketches for a house based on Mar's design of
1723, and a plan for a formal garden. The dissertation makes
extensive use of these sources to examine the history of the
inception of the house and the contemporary garden, which may carry
with it, important implications about the associative work of Mar
and McGill pre-1715 and the emergence of William Adam as the most
notable architect of the post-Bruce generation in Scotland.
1987-07-01T00:00:00ZKay, William R. M.The House of Dun (near Montrose) was built to designs by William
Adam (1689-1748) for David Erskine, Lord Dun (1673-1758), a judge of
the court of session. The history of its inception is complex and
intriguing. First proposals for the house were drawn up by
Alexander McGill (d.1734) in January 1723. These were sent for the
appraisal of Lord Dun's cousin, the exiled Jacobite John Erskine,
Earl of Mar (1675-1732), an amateur architect of considerable
ability. Mar provided counter-proposals for a house on a square
plan dated Paris, April 1723, and a scheme for an elaborate formal
garden. Neither McGill's nor Mar's designs were realised.
William Adam subsequently provided two designs (both
illustrated in Vitruvius Scoticus) for the house, the second of
which was realised. Although the house has a datestone which bears
“1730", documentary evidence suggests that Adam's final plan was
arrived at after his earlier version had been ammended by Mar in
1731. The resulting design is the product of a symbiotic exchange
of ideas in which Adam developed the triumphal arch motif for the
main facade of the house first suggested by Mar in 1723 and again in
1731.
The various schemes are documented in the form of both
monograph reports, and in Mar's case, several original drawings.
The main sources for these are the Erskine of Dun MSS at the
Scottish Record Office, Edinburgh: GD 123, and West Register House
for Mar's drawings plus one letter (RHP 13256-8, 13288/1-8 and
13289). Notable for its plasterwork by Joseph Enzer (d.1743),
several accounts for the fitting-up of the house survive, as well as
unattributed pencil sketches for a house based on Mar's design of
1723, and a plan for a formal garden. The dissertation makes
extensive use of these sources to examine the history of the
inception of the house and the contemporary garden, which may carry
with it, important implications about the associative work of Mar
and McGill pre-1715 and the emergence of William Adam as the most
notable architect of the post-Bruce generation in Scotland.Sir David Wilkie : his creative processes, with special reference to 'Blind man's buff' and 'Sir David Baird discovering the body of Tippoo Sahib'Johnston, Charlottehttps://hdl.handle.net/10023/219712022-03-08T11:40:11Z1987-01-01T00:00:00ZFor most of his paintings, Wilkie made a substantial body of preparatory work, and it is chiefly through the examination of such studies that we are able to trace his creative processes. Such an exercise reveals the changes which took place in his methods of composition, the way in which he responded to the different demands of the subjects with which he dealt, as his career progressed. The thesis looks specifically at the drawings relating to two of his paintings, one, a typical genre scene of 1813, Blind Man's Buff (Royal Collection, Buckingham Palace), and one a history piece and portrait of 1839, Sir David Baird discovering the body of Tippoo Sahib (National Gallery of Scotland). The studies and sketches are analysed in detail, in order to attempt to uncover the pattern of the development of Wilkie's ideas, in each case. The overall picture which emerges from this is of two quite distinct ways of working. The catalogues given at the end of the thesis list all the known extant studies and sketches for the paintings in question.
1987-01-01T00:00:00ZJohnston, CharlotteFor most of his paintings, Wilkie made a substantial body of preparatory work, and it is chiefly through the examination of such studies that we are able to trace his creative processes. Such an exercise reveals the changes which took place in his methods of composition, the way in which he responded to the different demands of the subjects with which he dealt, as his career progressed. The thesis looks specifically at the drawings relating to two of his paintings, one, a typical genre scene of 1813, Blind Man's Buff (Royal Collection, Buckingham Palace), and one a history piece and portrait of 1839, Sir David Baird discovering the body of Tippoo Sahib (National Gallery of Scotland). The studies and sketches are analysed in detail, in order to attempt to uncover the pattern of the development of Wilkie's ideas, in each case. The overall picture which emerges from this is of two quite distinct ways of working. The catalogues given at the end of the thesis list all the known extant studies and sketches for the paintings in question.T.J. Honeyman : policies towards the popularization of art and the Glasgow Art Gallery and Museum, KelvingroveMillar, Anne Mariehttps://hdl.handle.net/10023/162992019-03-28T15:15:35Z1992-09-30T00:00:00ZThe thesis will examine Dr. T. J. Honeyman's policies
towards the popularization of art and of the Glasgow Art
Gallery and Museum, Kelvingrove. From 1939-1954, Honeyman
was the Director of the Art Gallery and Museum, and during
this period devoted all his efforts towards helping the
public gain a basic understanding of art appreciation. By
increasing the public's awareness of art he hoped not only
to increase their interest and support in the Fine Arts but
in the Arts in general. His ultimate goal was to create a
revival in Glasgow's artistic culture and increase its
status in national and international art circles.
Within his capacity as director he created three roles
for himself - that of publicist, educationalist, and
purveyor of ideas. Working within these roles enabled him
to maximize the full resources available to him as a
director, and through them to stimulate the artistic culture
in Glasgow.
Honeyman was attempting to popularize art in the
Glasgow Art Gallery and Museum. He resisted the widespread
belief that "fine art" was a middle class phenomenon and
devised a program aimed at the demystification of art, thus
allowing everyone the opportunity to broaden their
appreciation and increase their personal growth.
The thesis is composed of three chapters and deals with
each role respectively. Within each role, the relevant
mechanisms set up by Honeyman to institute his policies on
popular art are addressed and examined. Demonstrating how
these mechanisms were utilized is essential to understanding
how he fulfilled his purpose to popularize art and enliven
the city's artistic culture.
1992-09-30T00:00:00ZMillar, Anne MarieThe thesis will examine Dr. T. J. Honeyman's policies
towards the popularization of art and of the Glasgow Art
Gallery and Museum, Kelvingrove. From 1939-1954, Honeyman
was the Director of the Art Gallery and Museum, and during
this period devoted all his efforts towards helping the
public gain a basic understanding of art appreciation. By
increasing the public's awareness of art he hoped not only
to increase their interest and support in the Fine Arts but
in the Arts in general. His ultimate goal was to create a
revival in Glasgow's artistic culture and increase its
status in national and international art circles.
Within his capacity as director he created three roles
for himself - that of publicist, educationalist, and
purveyor of ideas. Working within these roles enabled him
to maximize the full resources available to him as a
director, and through them to stimulate the artistic culture
in Glasgow.
Honeyman was attempting to popularize art in the
Glasgow Art Gallery and Museum. He resisted the widespread
belief that "fine art" was a middle class phenomenon and
devised a program aimed at the demystification of art, thus
allowing everyone the opportunity to broaden their
appreciation and increase their personal growth.
The thesis is composed of three chapters and deals with
each role respectively. Within each role, the relevant
mechanisms set up by Honeyman to institute his policies on
popular art are addressed and examined. Demonstrating how
these mechanisms were utilized is essential to understanding
how he fulfilled his purpose to popularize art and enliven
the city's artistic culture.P. Signac's 'D'Eugène Delacroix au néo-impressionisme' : a translation and commentaryVitaglione, Heather Bucknerhttps://hdl.handle.net/10023/132412019-03-28T15:15:36Z1985-01-01T00:00:00Z‘Paul Signac's 'D'Eugène Delacroix au néo-impressionnisme' : a translation and commentary’ is, to begin with, the
first English translation of the painter Signac's treatise
written in defense of Neo-Impressionism in 1899. It is one
of the rare theoretical treatises written at the end of the
19th century and perhaps more importantly, by an actual participant
in the movement. Therefore the treatise's historical
interest is unquestionable.
In addition to the translation is a brief glossary of
technical terms used by Signac but not explained in the text
and a colour chart for reference on passages on colour, for
Neo-Impressionism was, above all, a movement concerned with
colour.
The many scientific, literary and artistic sources cited
by Signac in the text are either identified in detailed
footnotes or, in some instances, in the introduction.
The introduction discusses Signac's background and
his motives for changing from palette to pen. It also
includes a brief comparison of Signac's practice vs his
theory with several visual examples. Signac's major sources
and the treatise's style are discussed in greater detail.
Signac's later career is briefly touched upon particularly
in reference to his contact with other artists.
In conclusion, it is hoped that this dissertation
will provide the reader with enough supplementary material
to better appreciate the vital qualities of ‘D'Eugène Delacroix au néo-impressionnisme’, and to become better acquainted with its author, Paul Signac.
1985-01-01T00:00:00ZVitaglione, Heather Buckner‘Paul Signac's 'D'Eugène Delacroix au néo-impressionnisme' : a translation and commentary’ is, to begin with, the
first English translation of the painter Signac's treatise
written in defense of Neo-Impressionism in 1899. It is one
of the rare theoretical treatises written at the end of the
19th century and perhaps more importantly, by an actual participant
in the movement. Therefore the treatise's historical
interest is unquestionable.
In addition to the translation is a brief glossary of
technical terms used by Signac but not explained in the text
and a colour chart for reference on passages on colour, for
Neo-Impressionism was, above all, a movement concerned with
colour.
The many scientific, literary and artistic sources cited
by Signac in the text are either identified in detailed
footnotes or, in some instances, in the introduction.
The introduction discusses Signac's background and
his motives for changing from palette to pen. It also
includes a brief comparison of Signac's practice vs his
theory with several visual examples. Signac's major sources
and the treatise's style are discussed in greater detail.
Signac's later career is briefly touched upon particularly
in reference to his contact with other artists.
In conclusion, it is hoped that this dissertation
will provide the reader with enough supplementary material
to better appreciate the vital qualities of ‘D'Eugène Delacroix au néo-impressionnisme’, and to become better acquainted with its author, Paul Signac.The effects of economic and social developments in the seventeenth century upon British amateur embroideries : with particular reference to the collections in the National Museums of ScotlandMayhew, Charlotte E. J.https://hdl.handle.net/10023/29122023-09-25T10:10:41Z1988-01-01T00:00:00ZThe seventeenth century in Britain produced a distinct and unique genre of embroideries; embroideries that were the work of women who have in general maintained, historically, a low profile. In recent years, with an increased ‘female consciousness’, attention has been given to these textiles, and much of what has been said is a matter of some controversy. The concerns of this thesis are therefore two-fold: to look at the women and their work, and in so doing to attempt to clarify some of the arguments surrounding them.
No art form exists independently of its creators, and they in turn are the product of their society, so a section of this work is concerned with the place of women in seventeenth century society. Differences in this position from one period to another may indicate the reasons for corresponding changes in the work they created. Similarly, these attitudes and aesthetics do not spring fully fledged into a new century, so it was necessary to pick up the threads of the sixteenth century, and then to look at the trends that were to be more fully developed in the eighteenth century. The scope of the objects covered in this thesis is therefore wide; a major part of the study being concerned with pattern sources of the period, in an attempt to understand the true context of the embroideries in the general aesthetic of the seventeenth century. In doing so, one may also gain an understanding of personal concerns, economic changes and political tensions of the period, as they affected the embroiderer, as well as that of the economic and sociological power bases of the period – and in the seventeenth century the influence of religion on both.
Electronic version excludes material for which permission has not been granted by the rights holder
1988-01-01T00:00:00ZMayhew, Charlotte E. J.The seventeenth century in Britain produced a distinct and unique genre of embroideries; embroideries that were the work of women who have in general maintained, historically, a low profile. In recent years, with an increased ‘female consciousness’, attention has been given to these textiles, and much of what has been said is a matter of some controversy. The concerns of this thesis are therefore two-fold: to look at the women and their work, and in so doing to attempt to clarify some of the arguments surrounding them.
No art form exists independently of its creators, and they in turn are the product of their society, so a section of this work is concerned with the place of women in seventeenth century society. Differences in this position from one period to another may indicate the reasons for corresponding changes in the work they created. Similarly, these attitudes and aesthetics do not spring fully fledged into a new century, so it was necessary to pick up the threads of the sixteenth century, and then to look at the trends that were to be more fully developed in the eighteenth century. The scope of the objects covered in this thesis is therefore wide; a major part of the study being concerned with pattern sources of the period, in an attempt to understand the true context of the embroideries in the general aesthetic of the seventeenth century. In doing so, one may also gain an understanding of personal concerns, economic changes and political tensions of the period, as they affected the embroiderer, as well as that of the economic and sociological power bases of the period – and in the seventeenth century the influence of religion on both.Balcaskie House, Fife, and the early architecture of Sir William BruceFitzalan Howard, Philiphttps://hdl.handle.net/10023/25782019-03-28T15:15:30Z1988-01-01T00:00:00ZChapter 1 attempts to place Bruce’s career in a political context and argues that Bruce may not have contributed as much to the Restoration of Charles II as has been suggested.
Chapter 2 examines Bruce’s education and the early influence on his architecture; and his first practical experience in Edinburgh and at Leslie House, Fife.
Chapter 3 assesses how much of Balcaskie House existed before Bruce bought the property in 1665.
Chapter 4 attempts to identify what Bruce added to Balcaskie by analysing the surviving building-accounts, concentrating on his remodelling of the interior, the gardens, and the rationalisation of the entrance front.
Chapter 5 examines what influence Bruce’s architecture had on his contemporaries, with special reference to Kinneil House.
I have written this dissertation first because I believe Balcaskie to have been neglected and underestimated by all architectural historians, and secondly in order to find out more about Bruce’s early life – and at the same time to question some of the assumptions which have been made about him. I conclude that Balcaskie may claim to be the first Scottish classical house.
1988-01-01T00:00:00ZFitzalan Howard, PhilipChapter 1 attempts to place Bruce’s career in a political context and argues that Bruce may not have contributed as much to the Restoration of Charles II as has been suggested.
Chapter 2 examines Bruce’s education and the early influence on his architecture; and his first practical experience in Edinburgh and at Leslie House, Fife.
Chapter 3 assesses how much of Balcaskie House existed before Bruce bought the property in 1665.
Chapter 4 attempts to identify what Bruce added to Balcaskie by analysing the surviving building-accounts, concentrating on his remodelling of the interior, the gardens, and the rationalisation of the entrance front.
Chapter 5 examines what influence Bruce’s architecture had on his contemporaries, with special reference to Kinneil House.
I have written this dissertation first because I believe Balcaskie to have been neglected and underestimated by all architectural historians, and secondly in order to find out more about Bruce’s early life – and at the same time to question some of the assumptions which have been made about him. I conclude that Balcaskie may claim to be the first Scottish classical house.