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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
Sir George Harvey 101 Harvey and others that the Academy owed its ‘early stability and youthful vigour’. He also cites Harvey’s role in the purchase of paintings by William Etty, now in the National Gallery of Scotland. His efforts were officially recognised when Harvey became the fourth President of the Royal Scottish Academy in 1864, and served until his death in 1876. Harvey’s legacy to Scottish art is now widely acknowledged by art historians, principally, his role in establishing a vibrant Scottish school, with the Royal Scottish Academy at its centre. He is often referred to as an ‘Edinburgh’ artist, but Harvey clearly drew on his Stirling background and connections for subject matter and inspiration. The Harvey family connection continued with the town, when George’s brother William took over the family business. George’s niece, Nellie Harvey became a popular local artist and member of the Stirling Fine Art Association. It was through her that most of the large collection of sketches survive, and which she generously gifted to the Smith in 1935. References (1) History of Art in Scotland by Robert Brydall. W. Blackwood and Sons. (2) Scottish Painting Past and Present. J. L. Caw, Edinburgh. T. C. and E. C. Jack, 1908. (3) Scottish Art by Stanley Cursiter. G. G. Harrap and Co. Ltd., 1949. (4) Harvey’s ‘Lost’ Child Restored. M. Devaney. Forth Naturalist and Historian, 21 85-87. (5) Scottish Painting 1837-1939. William Hardie. Studio Vista, London 1980. (6) Guide to the Collection of Scots Character Studies by Sir George Harvey PRSA. N. Harvey. Smith Institute, Stirling, 1938. (7) Scottish Painters at Home and Abroad 1700-1900. D. and F. Irwin. Faber and Faber, London 1975. (8) Sir George Harvey PRSA 1806-1876. Essays by Andrew Lindesay and Nigel Walsh. Foreword by Lindsay Errington. Smith Art Gallery and Museum, Dumbarton Road, Stirling. (9) The Scottish School of Painting. W. D. McKay, London. Duckworth and Co., 1906. (10) The Royal Scottish Academy 1826-1916. F. W. Rinder and W. D. McKay. J. MacLehose and Sons, 1917. (11) A Selection from the Works of Sir George Harvey PRSA. Rev. A. L. Simpson. Andrew Elliot, Edinburgh. The illustrations in this article are all by Sir George Harvey and are all in the Smith Art Gallery and Museum Collection.
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Volume 22 the Forth Naturalist and
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THE WEATHER OF 1998 S. J. Harrison
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Weather 1998 5 May Warm and mostly
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especially over the Carse. Although
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1991 -0.98 Below average 1992 -1.04
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Weather 1998 11 Figure 1 Monthly ai
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Weather 1998 13 Figure 3 Profile of
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Forth Naturalist and Historian, vol
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efore, but we have produced for the
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Bird Report 1998 19 Month 1996/7 19
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Bird Report 1998 21 BLACK-THROATED
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Bird Report 1998 23 over Stirling a
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Bird Report 1998 25 C 2 Gartmorn 15
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Bird Report 1998 27 1 L.Dochart 29
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Bird Report 1998 29 Dunmore 18 Oct
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Bird Report 1998 31 REDSHANK Tringa
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Bird Report 1998 33 WOODPIGEON Colu
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Bird Report 1998 35 S 20 Killin 2 A
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Bird Report 1998 37 F 63 Falkirk 28
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Bird Report 1998 39 GREAT GREY SHRI
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Bird Report 1998 41 LINNET Cardueli
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Wallacebank Wood 47 Before work on
Page 49 and 50: Wallacebank Wood 49 Breeding birds
Page 51 and 52: Appendix SCOTTISH WILDLIFE TRUST FA
Page 53 and 54: Hedge Woundwort Stachys sylvatica L
Page 55 and 56: Forth Naturalist and Historian, vol
Page 57 and 58: Dragonflies of the Forth Area 57 at
Page 59 and 60: Figure 1. Sympetrum striolatum (Com
Page 63 and 64: Falkirk District Plants 63 Poa subc
Page 65 and 66: Falkirk District Plants 65 Petasite
Page 69 and 70: Brambles of the Trossachs and Stirl
Page 73 and 74: Series RADULAE R. radula Weihe: As
Page 81 and 82: Wallace Oak: Supplement 81 1771 The
Page 83 and 84: Wallace Oak: Supplement 83 the boxe
Page 85 and 86: Wallace Oak: Supplement 85 1814 At
Page 87 and 88: 1866 “Captain Stobo MP is to send
Page 89 and 90: Wallace Oak: Supplement 89 of a ‘
Page 91 and 92: Appendix Wallace Oak: Supplement 91
Page 95 and 96: grass as the tenants preferred. The
Page 99: Sir George Harvey 99 It was through
Page 103 and 104: Sir George Harvey 103 Figure 5 Fami
Page 105 and 106: Figure 10 Boy Restraining Dog - Qua
Page 109 and 110: Sheriffmuir Atlantic Wall 109 lengt
Page 111 and 112: Sheriffmuir Atlantic Wall 111 assoc
Page 113 and 114: Sheriffmuir Atlantic Wall 113 Figur
Page 115 and 116: Sheriffmuir Atlantic Wall 115 Figur
Page 119 and 120: Stirling, 70 years ago 119 the pend
Page 121 and 122: Stirling, 70 years ago 121 quality
Page 123 and 124: Stirling, 70 years ago 123 restrict
Page 125 and 126: Stirling, 70 years ago 125 Riversid
Page 127 and 128: Stirling, 70 years ago 127 in my ea
Page 129 and 130: executed at the Old Bridge or the C
Page 131 and 132: Stirling, 70 years ago 131 high bus
Page 135 and 136: Bridges of the Forth 135 All of thi
Page 137 and 138: Bridges of the Forth 137 Elegant as
Page 139 and 140: Bridges of the Forth 139 passed by
Page 141 and 142: Bridges of the Forth 141 an ordinar
Page 143 and 144: Bridges of the Forth 143 been incor
Page 145 and 146: Bridges of the Forth 145 Editorial
Page 147 and 148: Braco: Ardoch Bridge Knaik NN 837 0
Page 149 and 150: Forth Figure 5 Alloa Rail - after
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Figure 13 Old Bridge, Callander. Te
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Figure 18 Bridge of Devon, Tullibod
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