James Drummond (1816-1877) holds a distinct and respected place in the annals of Scottish art, primarily celebrated for his meticulous and evocative depictions of historical scenes and antiquarian subjects. Operating primarily from his native Edinburgh, Drummond dedicated his career to visually chronicling Scotland's rich past, its pivotal moments, and its cultural heritage. His work, while sometimes critiqued for a perceived lack of dramatic flair, remains invaluable for its historical accuracy and its contribution to the national artistic identity of Scotland in the 19th century. As an artist, academician, and curator, Drummond's influence extended beyond his canvases, shaping the institutional landscape of Scottish art.
It is important at the outset to distinguish James Drummond, the painter, from other notable individuals who shared his name, particularly the contemporaneous botanist James Drummond (c. 1786/87 – 1863), who made significant contributions to the study of flora in Western Australia. The painter, our focus here, was born and died within the artistic circles of Edinburgh, his life and work intrinsically linked to the city and its history.
Early Life and Artistic Beginnings
James Drummond was born in Edinburgh in 1816, a city steeped in history and architectural grandeur that would profoundly influence his artistic inclinations. Growing up in such an environment likely nurtured his early interest in the past. His formal artistic training was under the tutelage of Sir William Allan (1782-1850), a prominent Scottish historical painter himself, who served as President of the Royal Scottish Academy and was known for his depictions of Russian life and Scottish historical subjects, such as The Murder of Archbishop Sharpe and John Knox Admonishing Mary Queen of Scots.
Allan's influence would have been significant, instilling in Drummond a respect for historical accuracy and the grand narrative potential of painting. Drummond first exhibited his work in 1835, marking his entry into the professional art world of Scotland. This early period would have seen him honing his skills, likely experimenting with various subjects before settling into the historical and antiquarian themes that would define his career. The artistic milieu of Edinburgh at this time was vibrant, with figures like David Wilkie (1785-1841) having already established a strong tradition of Scottish genre and historical painting, though Wilkie was by then largely based in London.
Rise within the Royal Scottish Academy
Drummond's dedication and skill were recognized by his peers, leading to his steady ascent within the Royal Scottish Academy (RSA), Scotland's premier institution for the promotion of contemporary Scottish art. He was elected an Associate of the RSA (ARSA) in 1846. This was a significant step, acknowledging his growing reputation and contribution to the Scottish art scene.
His commitment to his craft and to the Academy continued, and in 1852, he was elevated to the status of full Academician (RSA). This was a prestigious honor, placing him among the leading artists of Scotland. The RSA, founded in 1826, played a crucial role in fostering a national school of art, and Academicians like Drummond were central to its exhibitions, its educational efforts, and its overall governance. His involvement with the RSA would have brought him into regular contact with other leading Scottish artists of the period, such as the landscape painter Horatio McCulloch (1805-1867) and the historical and portrait painter Thomas Duncan (1807-1845), whose early death was a loss to Scottish art.
Curator of the National Gallery of Scotland
Beyond his own artistic practice and his role within the RSA, James Drummond made a significant contribution to the preservation and display of art in Scotland through his position as the Curator of the National Gallery of Scotland. Appointed to this role, he served for many years, bringing his antiquarian knowledge and artistic judgment to the development and management of the gallery's collections.
His curatorial work involved not only caring for the existing artworks but also playing a part in acquisitions. The provided information notes that he "collected many important works for the gallery." This aspect of his career underscores his deep commitment to Scotland's artistic heritage and his desire to make it accessible to the public. His role as curator would have further immersed him in the study of art history, potentially influencing his own work and providing him with unparalleled access to masterpieces. This dual role as a practicing artist and a gallery curator was not uncommon in the 19th century and often enriched both aspects of an individual's career. Other artists, like Sir Charles Eastlake in London, also combined painting with significant institutional roles.
Artistic Focus: Scottish History and Antiquarianism
James Drummond's primary artistic passion lay in the depiction of Scottish history and its antiquities. He was less a painter of contemporary life or imaginative allegories and more a visual historian, meticulously researching and reconstructing scenes from Scotland's past. His choice of subjects often revolved around significant events, particularly those connected with Edinburgh and the tumultuous periods of Scottish history, such as the Covenanter struggles or the life of Mary, Queen of Scots.
His antiquarian interests meant that he paid close attention to the details of costume, weaponry, architecture, and social customs of the periods he depicted. This dedication to accuracy gave his paintings a documentary quality, making them valuable resources for those studying Scottish history. He was not merely illustrating events but attempting to provide an authentic glimpse into bygone eras. This approach aligned with a broader 19th-century fascination with history and national identity, seen in the works of historical novelists like Sir Walter Scott, whose writings had already done much to popularize Scottish history and romanticize its past. Drummond, in a visual medium, continued this exploration of national heritage.
Major Artistic Works
James Drummond produced a significant body of work throughout his career, with several paintings standing out as particularly representative of his style and thematic concerns. These works are often characterized by their detailed rendering of historical events and figures, primarily set within Scottish contexts.
One of his most famous paintings is 《The Porteous Mob》. This work depicts the infamous riot that took place in Edinburgh in 1736, when a mob stormed the Tolbooth Prison to lynch Captain John Porteous of the City Guard. Porteous had ordered his men to fire on a crowd at a public execution, causing several deaths, and was subsequently sentenced to death himself. When a reprieve seemed likely, the citizens took matters into their own hands. Drummond’s painting captures the drama and chaos of this event, a subject also famously treated by Sir Walter Scott in his novel The Heart of Midlothian. Drummond’s version would have focused on the historical accuracy of the setting and the attire of the figures involved.
Another significant work is 《Covenanters in Greyfriars' Churchyard》. This painting refers to the period of the National Covenant of 1638 and the subsequent struggles of the Covenanters, who resisted changes imposed on the Church of Scotland by the Stuart kings. Greyfriars Kirkyard in Edinburgh is a site of immense historical importance for this period, being the place where the National Covenant was signed and where many Covenanters were later imprisoned. Drummond’s depiction would likely evoke the solemnity and religious fervor of these historical figures.
《Queen Mary Returns to Edinburgh from Carberry Hill in 1567》 illustrates a poignant moment in the life of Mary, Queen of Scots. After her surrender to the Confederate Lords at Carberry Hill following the murder of her husband, Lord Darnley, and her controversial marriage to the Earl of Bothwell, Mary was brought back to Edinburgh as a captive, facing public humiliation. Drummond’s painting would have aimed to capture the historical setting and the emotional weight of this event, a recurring theme in Scottish art and literature. Artists like Gavin Hamilton (1723-1798) had earlier explored episodes from Mary's life, establishing a tradition Drummond continued.
Other notable works that highlight his focus on Edinburgh's historical fabric include:
《Old Mint, Edinburgh》: A depiction of the historic building that once housed Scotland's mint.
《Castle Road, Edinburgh》: Likely a scene capturing the atmosphere of the streets leading to or surrounding Edinburgh Castle.
《Queen Mary's Bath, Holyrood》: A portrayal of a small, historic building in the grounds of Holyrood Palace, traditionally associated with Mary, Queen of Scots.
These paintings, through their careful reconstruction of historical settings and events, served to educate and remind viewers of Scotland's rich and often turbulent past. They reflect a deep engagement with national identity and a desire to preserve the memory of historical Scotland.
Artistic Style and Technical Characteristics
James Drummond's artistic style was characterized by a commitment to historical verisimilitude, often described as bold yet detailed. His paintings typically feature carefully rendered figures, accurate period costumes, and well-researched architectural settings. This meticulous approach stemmed from his antiquarian interests; he sought to make his historical scenes as authentic as possible.
The provided information notes that he studied earlier art, including the works of Renaissance artists like Andrea Mantegna (c. 1431-1506). Mantegna was renowned for his mastery of perspective, his sculptural depiction of the human form, and his own interest in classical antiquity. Drummond's study of such masters might have informed his compositional strategies and his attention to form and detail, though his own style remained rooted in the 19th-century tradition of historical painting.
While his drawing and composition were generally competent, Drummond's use of color was sometimes a point of critique. Some contemporary and later commentators found his palette to be somewhat "monotonous" or "poor," and his overall artistic expression "tame," lacking the dramatic intensity or emotional depth found in the work of some of his contemporaries or predecessors like the more flamboyant history painter John Martin (1789-1854) or the emotionally charged works of the Romantic period.
However, this perceived lack of dynamism might also be interpreted as a deliberate choice, reflecting a more scholarly and less sensationalist approach to history. His aim may have been less about overwhelming the viewer with emotion and more about presenting a carefully constructed and accurate visual record. His technique, therefore, served his primary goal of historical representation. His works often involved complex group scenes, requiring skill in arranging multiple figures and creating a coherent narrative within the pictorial space.
Beyond Painting: Antiquarian Pursuits and Graphic Works
James Drummond's engagement with history and antiquities was not confined to his oil paintings. He was also an active antiquarian and produced works in other media that reflected these interests. The provided information mentions his involvement in archaeological research, which would have directly fed into the accuracy of his historical depictions. This hands-on engagement with the material culture of the past set him apart.
Furthermore, Drummond created woodcuts and etchings. These graphic works often documented medieval triumphs and processions from the 15th to the 18th centuries, showcasing his detailed knowledge of historical costume, armor, and ceremonial practices. Printmaking allowed for wider dissemination of his antiquarian studies than unique oil paintings, and it connected him to a long tradition of artists who used prints to record and interpret historical and cultural subjects, such as Wenceslaus Hollar (1607-1677) in an earlier era.
These pursuits highlight the scholarly dimension of Drummond's career. He was not just an artist but also a researcher and a preserver of historical knowledge. His work in these areas complemented his paintings, creating a comprehensive body of work dedicated to the exploration of Scotland's past.
Critical Reception and Legacy
James Drummond's work was generally well-received within the Scottish art establishment of his time, as evidenced by his progression through the ranks of the Royal Scottish Academy and his appointment as Curator of the National Gallery. His paintings were valued for their historical accuracy and their contribution to the visual narrative of Scotland. Collectors and institutions acquired his works, and they were regularly featured in exhibitions.
However, as noted, his art did face some criticism, particularly regarding its emotional impact and color palette. Some found his depictions to be more illustrative than deeply moving, more archaeological than artistically transcendent. For instance, while he meticulously depicted historical dress and weaponry, the figures themselves were sometimes seen as lacking psychological depth or dramatic force when compared to, for example, the intense character studies of the Pre-Raphaelites like Dante Gabriel Rossetti (1828-1882) or John Everett Millais (1829-1896), who were his contemporaries in England and also engaged with historical and literary themes, albeit with a different stylistic and emotional emphasis.
Despite these critiques, Drummond's legacy is significant. His paintings remain important historical documents in their own right, offering valuable insights into 19th-century perceptions of Scottish history and the material culture of earlier periods. They are frequently consulted by historians and researchers for their detailed renderings. His dedication to Scottish themes helped to solidify a national school of historical painting.
His role as a curator also contributed to his legacy, as he helped to shape the collections of one of Scotland's most important cultural institutions. In this, he joins other artist-administrators like William Dyce (1806-1864), another Scot who, though primarily active in England, played a key role in art education and the administration of the Government School of Design.
The Scottish Art Scene in the 19th Century
To fully appreciate James Drummond's contribution, it is helpful to consider the broader context of the Scottish art scene in the 19th century. It was a period of growing national consciousness, and art played a role in defining and celebrating Scottish identity. The Royal Scottish Academy was central to this, providing a focal point for artists and exhibitions.
Historical painting was a respected genre, and artists like Drummond, following in the footsteps of Sir David Wilkie and Sir William Allan, found ready subjects in Scotland's rich past. Landscape painting also flourished, with artists like Horatio McCulloch and later figures such as William McTaggart (1835-1910) capturing the distinctive beauty of the Scottish scenery. Portraiture continued to be important, building on the legacy of earlier masters like Allan Ramsay (1713-1784) and Sir Henry Raeburn (1756-1823).
The influence of Sir Walter Scott's novels was pervasive, popularizing Scottish historical themes and creating a demand for visual representations of these stories and periods. Drummond's work tapped into this interest. While the major artistic innovations of the later 19th century, such as Impressionism, largely bypassed Drummond, his work was representative of a strong and enduring tradition of academic historical painting. He was a contemporary of English historical painters like William Powell Frith (1819-1909), known for his detailed panoramas of Victorian life which, while different in subject, shared a commitment to detailed observation.
Distinguishing James Drummond the Painter
It is worth reiterating the importance of distinguishing James Drummond, the historical painter (1816-1877), from other individuals of the same name, as confusion can easily arise. The provided information itself highlights this by mentioning details pertaining to others.
For example, the James Drummond born in 1786 or 1787, baptized on January 8, 1787, in Inverarity, Scotland, and who died on March 27, 1863, was the notable botanist and naturalist who emigrated to Australia. His correspondence with Sir William Jackson Hooker about Aboriginal hunting scenes, accompanied by a sketch, pertains to this botanist, not the painter.
Similarly, the portrait by Sir John Baptiste de Medina (1659-1710) depicting "James Drummond, 2nd Earl of Perth" is of an earlier historical figure, a nobleman from a much earlier period, and Medina was a Flemish-Spanish portrait painter active in Scotland long before our James Drummond was born. The James Drummond who died in Chicago in a grocery store in 1888 is yet another distinct individual.
Our subject, James Drummond RSA, the painter, was born in Edinburgh in 1816 and died there in 1877. His life and career were centered on Scottish art, history, and antiquarianism, and his affiliations were with the Royal Scottish Academy and the National Gallery of Scotland. This clarity is essential for accurate art historical assessment.
Conclusion
James Drummond RSA was a dedicated and knowledgeable painter of Scottish history, whose work provides a valuable visual record of his nation's past. As a student of Sir William Allan, a respected member of the Royal Scottish Academy, and the long-serving Curator of the National Gallery of Scotland, he played a multifaceted role in the artistic life of 19th-century Scotland. His paintings, such as The Porteous Mob and Covenanters in Greyfriars' Churchyard, are celebrated for their meticulous historical detail, reflecting his deep antiquarian interests.
While his style may not have possessed the dramatic intensity of some of his contemporaries, its strength lay in its earnest and scholarly approach to historical representation. Drummond's commitment to accuracy in costume, architecture, and custom has ensured that his works remain significant resources for understanding both the historical periods he depicted and the 19th-century Scottish engagement with its own heritage. His legacy is that of a diligent chronicler and a custodian of Scotland's artistic and historical treasures, a painter whose canvases continue to offer insights into the soul of a nation.
