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A Shared Legacy: Essays on Irish and Scottish Art and Visual Culture brings together for the first time a unique selection of new research by leading Irish, Scottish, English and North American scholars to explore the varying ways in which the visual can operate within the context of two countries with related experiences of lost statehood yet retained nationhood. Covering a span of three centuries, this skilfully-crafted book takes the discussion of Irish and Scottish art beyond the often isolationist approach adopted in the past, dealing directly with issues of nationality in a wider context. The authors identify national concerns through a range of themes: race, class, union and assimilation or nationalism and internationalism and while many of the essays focus on paintings, sculpture, prints and watercolours, others consider a wider notion of visual culture by investigating photography, magic lantern slides and the home arts of embroidery and textiles.
List of contents
Contents: Introduction, Fintan Cullen and John Morrison; 'Schottenstift: a quiet mix': artists of the Scottish diaspora, their integration with and contribution to European visual culture, Jeremy Howard; 'Into the Cyclops eye': James Barry, historical portraiture, and colonial Ireland, Luke Gibbons; Envisioning Burns, Murdo Macdonald; Towards a national art?: George Petrie's two versions of The Last Circuit of Pilgrims of Clonmacnoise, Tom Dunne; Highlandism and Scottish identity, John Morrison; Marketing national sentiment: lantern slides of evictions in late nineteenth-century Ireland, Fintan Cullen; Imagining and imaging the land: some ideological formations of landscape photography in Scotland, Tom Normand; Authenticity and identity as visual display: Scottish and Irish home arts and industries, Janice Helland; Patterns of taste: Scottish collectors and the making of cultural identity in the late nineteenth century, Frances Fowle; The cultural front: Scotland and Northern Ireland, 1940-42, Euan McArthur; Excavating Room 50: Irish painting and the Cold War at the 1950 Venice Biennale, Fionna Barber; Mapping emotion: longing and location in the work of Kathy Prendergast, Catherine Nash; Index.
About the author
Fintan Cullen is Professor of Art History at the University of Nottingham, UK.
John Morrison is Senior Lecturer in History of Art at the University of Aberdeen, UK.
