the Forth Naturalist Historian - Forth Naturalist and Historian ...

100 Maria Devaney
and weather conditions; a modern approach at the time. His landscapes were
at first only backgrounds to his historical or genre subjects, but later in his
career he concentrated on pure landscape with fewer and fewer figures.
In ‘Sheep Shearing’ (figure 11) he “attained a truth and subtlety of aerial
effect new in Scottish art” (J. L. Caw). Dating from 1859, it marks the transition
from figure to landscape painting, and depicts man in harmony with his
environment. Harvey has captured a scene from the annual event of ‘the
clipping’, taking place beneath dramatic hills (thought to be the Ochils). Each
stage of the process has been described in detail from the bringing in of the
next animal, the shearing, the branding, sharpening of shears, and the collie
dogs carefully watching the flocks. The whole image exudes such harmony, in
terms of composition, treatment of subject and depiction of the landscape and
sky.
The reasons for his turning more towards pure landscape subjects are not
known, although it is thought that John Ruskin’s Edinburgh lectures of
November 1853 may have had a major impact on Harvey. Ruskin wrote to his
father, “I have many friends and admirers in Edinburgh, and am in some
respects far better understood there than in London. The Edinburgh artists –
Harvey, D. O. Hill, Noel Paton, etc, are all eager to meet me” (D. & F. Irwin). In
one of his lectures, Ruskin attacked the current trend for history painting, and
promoted Pre-Raphaelitism with its uncompromising truth and minute detail
taken directly from nature. Ruskin stated that “the only historical painting
worth a straw” is the recording of contemporary events. It is clear to see
Ruskin’s influence in Harvey’s ‘Sheep Shearing’.
Portraiture is another aspect of Harvey’s oeuvre which is rarely discussed.
There are three oil portraits in the Smith collection, one of his brother
Alexander who became Baillie of Provan in Glasgow, and the others are of
former Provosts of Stirling, William McAlley and William Rankin. There are
also individual sketches of himself and his father, the Stirling clockmaker. The
collection of Harvey oil sketches are principally portraits and character studies
of unnamed people, likely to be friends, members of his family or models. It
would appear that portrait commissions were few until Harvey’s career as a
Royal Academician began to flourish. This is surprising when his portraits
reveal such insight into character and expression, without any leanings
towards sentimentality.
Art historians and critics have since Harvey’s day considered his painting
techniques, particularly in his earlier works, to be lacking. It is generally agreed
however that Harvey’s painting improved as he matured. He was certainly
held in the highest regard by his peers. Harvey was involved in the formation
of the Scottish Academy, and was one of the original Associates in 1826 at the
young age of twenty. By 1829 he was elected an Academician. His support of
the Academy can be seen in the number of paintings he submitted each year to
the annual exhibitions, and in his support of younger artists, and is
acknowledged by his colleagues. The Rev. A. L. Simpson states that it was to