Locality and pleasure in landscape: A study of three nineteenth-century scottish watercolourists

Rural History

Volumn 8, Issue 2, 1997, Pages 149-164

  Helland, Janice ^a  

^a NONE

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[No Author keywords available]

Indexed keywords

EID: 0347609673     PISSN: 09567933     EISSN: None     Source Type: Journal    
DOI: 10.1017/s0956793300001242     Document Type: Article

References (25)

1. Scottish architect Robert Adam designed additions to the earlier buildings some time after 1764. Frank Arneil Walker and Fiona Sinclair, North Clyde Estuary, An Illustrated Architectural Guide (Royal Incorporation of Architects in Scotland, 1992), p. 88.
2. In addition, I have selected artists whose career is well-documented in exhibition reviews and catalogues, who exhibited widely, but whose pictures remain virtually impossible to locate. My contention is that art history recycles information about established artists whose pictures exist in public collections; however, the conditions of production and consumption surrounding the art making of [particularly] women has been ignored when pictures cannot be found thus perpetuating the discourse of art history within and around a commercial market-place. Social historians can discuss the work of female farm-workers, for example, without viewing their gleanings; female art-workers might be given the same consideration.
3. Eric Richards, A History of the Highland Clearances : Agrarian Transformation and the Evictions 1746-1886 (London, 1982), pp. 484.
4. Andrew Hemingway, Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain (Cambridge, 1992), p. 7.
5. Minutes of the Society of Water Colour Painters, 21st December 1877. I thank Roger Frame, Glasgow for giving me access to the Minutes of the Society. The Society formed as the Scottish Society of Painters in Water Colours in 1878 and became the Royal Scottish Society of Painters in Water Colours in 1888.
6. Glasgow Herald (19th January 1878), p. 3.
7. Glasgow Herald (12th January 1878), p. 4.
8. Glasgow Herald (31st October 1878), p. 7.
9. Glasgow Herald (2nd February 1880), p. 5.
10. Glasgow Herald (6th February 1882), p. 7.
11. Minutes of the Society, 18th March 1878 and the Glasgow Herald (5th April 1878), p. 10. Francis Powell was President of the Society, Charles Blatherwick its treasurer. See also the catalogue of the First Exhibition of the Scottish Society of Water Colour Painters, 1878.
12. Minutes of the Society, 18th March 1878 and the Glasgow Herald (5th April 1878), p. 10. Francis Powell was President of the Society, Charles Blatherwick its treasurer. See also the catalogue of the First Exhibition of the Scottish Society of Water Colour Painters, 1878.
13. Minutes of the Society, 18th March 1878 and 3rd April 1878.
14. The Society formed with 25 artists then added 13 associates for a total of 38 in their first year of organization. Minutes of the Society, 29th December 1877 to 18th March 1878. There were to be no more than forty members and twenty associates at any given time. The Society's rules of procedure stipulated that two-thirds of the members must approve the electing of an associate; thus, the female associates had secured the support of well over half of the male members of the group. Minutes of the Society, 3rd February 1879.
15. Glasgow Herald (9th April 1878), p. 7. The exhibition opened on 8th April 1878 in Yuille's Gallery, 89 Union Street, Glasgow. The purpose of the exhibition was to obtain watercolour drawings 'direct from the studios of the artists'.
16. Glasgow Herald (8th October 1878), p. 4. The private view was held on 1st November 1878.
17. Glasgow Herald (31st October 1878), p. 7.
18. Ibid.
19. Glasgow Herald (2nd November 1878), p. 4.
20. Minutes of the Scottish Society of Painters in Water Colours, 23rd December 1878.
21. Glasgow Herald (20 December 1880), p. 4.
22. Macaulay lived with her parents who in turn lived on Hector Macaulay's retirement pay. Macaulay was the sole inheritor of her father's estate (he died in 1896) which was valued at just over £2600. When Macaulay died in 1914 her estate was valued at almost precisely the same amount. The £28 I managed to track down would not represent all the sales she made; she may well have earned at least twice that much, definitely enough to supplement her income and provide supplies to continue painting.
23. Doreen Massey, Space, Place and Gender (Minneapolis, Minnesota, 1994), p. 5.
24. Greenlees married landscape painter Graham Kinloch Wylie in October 1885.
25. Gillian Rose, Feminism and Geography : The Limits of Geographical Knowledge (Oxford, 1993), p. 104.