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Sir George Harvey 99
It was through engravings that Harvey’s works became known to a popular
world wide audience. His treatment of Scottish history and contemporary
incidents appealed to Scots at home, and also the growing numbers of
emigrant Scots, who responded to the sentiment and nostalgia of pictures such
as ‘Quitting the Manse’ and his series of Covenanting scenes. Harvey’s first
painting of this series, ‘The Covenanters Preaching’ was exhibited at the
Scottish Academy in 1830. It is now in the collections of Glasgow Museums.
Several sketches for this painting are in the Smith collection, including a pair of
covenanting figures (figure 7) and a study for the preacher (figure 8). The
former sketch also reveals notes to the engraver in Harvey’s own hand.
His next Covenanting scene, ‘The Baptism’, was exhibited the following
year. The Smith has the initial composition and several sketches including the
study for the central family group (figure 9). The finished painting is in the
collections of Aberdeen Art Gallery. Harvey’s sketch has incorporated the
custom of the ‘Baby’s Maiden’, when a young girl passed the baby between
mother and father, then back again. The mother is dressed in white garments.
The source for this subject matter is thought to have been drawn from
literature, from Christopher North’s ‘Lights and Shadows of Scottish Life’.
Harvey’s other Covenanting works included ‘The Battle of Drumclog’
(Glasgow Museums, first exhibited 1836 at the Scottish Academy) and the
‘Covenanters’ Communion’ (first exhibited 1840).
Harvey’s sympathetic treatment of the Covenanters, and the troubles of
Scottish church matters in his own day, perhaps struck a chord with the artist
since his own family, originally called Hervé, had fled France during the
Revolution and experienced such persecution.
Harvey did for a time paint other history subjects including ‘Shakespeare
before Sir Thomas Lucy’ (exhibited 1837), ‘An Incident in the Life of Napoleon’
(exhibited 1845), and the ‘First Reading of the Bible in the Crypt of Old St
Paul’s’ (exhibited 1847), but it was his everyday subjects such as ‘The Curlers’
(National Gallery of Scotland, first exhibited 1835) and several paintings
inspired by childhood that he enjoyed a popular following.
Harvey’s first school subject was ‘Village School’ (exhibited 1826), reputedly
based on a school at Causewayhead. The same school is said to have also been
the model for ‘Examination of a Village School’ (exhibited 1832). Harvey’s gift
for expression can be seen in his many sketches of children. His childhood
subjects were a celebration of adventure and discovery, and depicted children
with great charm. ‘Boy Restraining Dog’ (figure 10) is a sketch for ‘Rabbit
Hunting in the Craigs’, exhibited at the Scottish Academy in 1828. At that time,
the Craigs was rugged land outside the town walls of Stirling. Other childhood
subjects included ‘Harrying the Byke’ (1827), ‘The Lost Child Restored’
(1829) (4), ‘Boys and Burning Glass’ (1834) and ‘Blowing Bubbles: The Past and
the Present’ (1849).
Harvey’s landscapes, the least recognised during his lifetime are now
considered to be some of his best work. They suggest a close study of nature