Margaret Collyer, an artist whose life and work bridged the late Victorian era and the dynamic early decades of the twentieth century, remains a figure of compelling interest. Born in 1872 in Britain, she carved out a significant reputation primarily as an animal painter, with a particular affinity for the rugged landscapes and noble creatures of the Scottish Highlands. Her career, which saw its zenith between roughly 1890 and 1917, was marked by regular exhibitions at prestigious institutions like the Royal Academy of Arts in London, a bold personal style, and a pioneering spirit that extended beyond her canvases into advocacy for women in the arts. Collyer's story is one of passion for the natural world, a keen observational eye, and a life lived with a certain adventurous flair, culminating in her passing in Maputo, Mozambique, in 1945.
Early Artistic Inclinations and the Victorian Backdrop
While specific details of Margaret Collyer's earliest artistic training are not extensively documented in readily available sources, her emergence as a proficient painter by the 1890s suggests a dedicated period of study. For a woman pursuing art in late Victorian Britain, institutions like the Slade School of Fine Art or the Royal Academy Schools were becoming more accessible, though often with restrictions, particularly concerning life drawing from the nude model – an issue Collyer herself would later confront. The artistic environment was rich and varied. The Pre-Raphaelite Brotherhood's influence still lingered, with its emphasis on detail and romantic subjects, while the Aesthetic Movement championed "art for art's sake." More academic traditions, heavily influenced by figures like Sir Frederic Leighton and Lawrence Alma-Tadema, dominated the Royal Academy, emphasizing classical themes and polished execution.
Animal painting, Collyer's chosen specialty, had a distinguished lineage in British art. Sir Edwin Landseer had, earlier in the 19th century, elevated the genre to immense popularity, imbuing his animal subjects with almost human-like sentiments and dramatic narratives. By Collyer's time, artists like Briton Rivière, known for his sympathetic portrayals of animals often in historical or mythological contexts, and John Emms, celebrated for his dynamic paintings of hounds and terriers, were prominent. It was into this established, yet evolving, field that Collyer would make her mark, bringing her own distinct vision.
The Call of the Highlands and a Signature Style
Margaret Collyer's artistic identity became inextricably linked with the Scottish Highlands. This region, with its dramatic mountains, sweeping glens, and hardy wildlife, particularly the iconic Highland cattle, provided her with inexhaustible inspiration. Her most productive period, from 1890 to 1915, saw a consistent output of works celebrating this landscape and its inhabitants. She was known to frequent Aston Doyne, a Scottish estate, where she not only found subjects for her paintings but also undertook portrait commissions for the estate's owner.
Her fascination with Scotland extended to her personal presentation. Collyer was noted for often wearing traditional Scottish attire, including the kilt, plaid, and even a dirk (a traditional Scottish dagger) at her knee. This sartorial choice was more than affectation; it signaled a deep immersion in the culture and spirit of the land she so lovingly depicted. It also contributed to her image as a somewhat unconventional and spirited individual, unafraid to stand out.
Her paintings from this era are characterized by a robust realism, a keen understanding of animal anatomy, and an ability to capture the atmospheric conditions of the Highlands – be it the crisp air of a snowy morning or the brooding light of an approaching storm. She didn't just paint animals; she portrayed their character and their intrinsic connection to their environment.
Masterworks: Capturing Power and Majesty
Among Margaret Collyer's most celebrated works, Lord of the Isles, painted in 1901, holds a prominent place. This imposing canvas depicts a magnificent Highland bull, exuding strength and untamed spirit, standing proudly upon a rocky outcrop. The backdrop is a quintessential Collyer Highland scene: windswept, with a turbulent stream and snow-dusted peaks. The painting is lauded for its powerful composition, the meticulous rendering of the bull's shaggy coat, and the almost palpable sense of wildness. For a time, this work was considered a "lost masterpiece," its whereabouts unknown, until its dramatic reappearance at auction in 2017, reigniting interest in Collyer's oeuvre.
Another significant painting, often mentioned in conjunction, is Lord Of The Highlands. While details might vary, the title itself suggests a similar thematic concern: the celebration of the dominant, majestic animals of the Scottish wilderness. These works, with their "cinematic" light and shadow and strong visual impact, showcase Collyer at the height of her powers. They possess a grandeur that elevates animal portraiture beyond mere representation, touching upon themes of survival, natural sovereignty, and the sublime power of nature.
Beyond these iconic bulls, Collyer also demonstrated a tender touch in works like A Young Boy with His Dogs. This painting, considered one of her most beautiful, highlights her versatility and her ability to capture the affectionate bond between humans and animals. Her skill in depicting dogs was particularly noted, earning her informal titles such as "mistress of dogs." An anecdote tells of her purchasing a Scottish deerhound directly from a train, a dog that subsequently became a frequent model, underscoring her spontaneous and deep-seated love for these animals.
Recognition at the Royal Academy and Beyond
Margaret Collyer's talent did not go unnoticed by the art establishment. She achieved consistent recognition at the Royal Academy of Arts in London, a significant feat for any artist, and particularly for a woman in that period. Between 1910 and 1917, a period considered her artistic peak, she exhibited at least one, and sometimes two, works annually at the RA's prestigious summer exhibitions. This consistent presence indicates a high level of acceptance and respect for her work among her peers and the Academy's selection committees.
Her contributions to the Royal Academy were not limited to easel paintings. It is recorded that she designed a large relief sculpture of a Roman Queen for one of the Academy's exhibitions. This undertaking demonstrates a breadth of artistic skill and ambition beyond her primary focus on animal painting, suggesting an engagement with classical themes and sculptural form, perhaps echoing the grand historical and mythological subjects favored by Academicians like Sir Edward Poynter or George Frederic Watts.
The Royal Academy at this time was the epicenter of the British art world. To exhibit there was to be seen by critics, collectors, and the public. Collyer's success in this arena placed her alongside other notable female artists who were making their mark, such as Elizabeth Thompson (Lady Butler), famous for her stirring military scenes, and Lucy Kemp-Welch, who, like Collyer, specialized in animal painting, particularly horses, with works like Colt Hunting in the New Forest. Collyer's focus on Scottish wildlife, however, gave her a distinct niche.
A Life of Adventure and Advocacy
Margaret Collyer's life was far from confined to her studio. Her time spent in Kenya, though less documented in terms of its direct influence on her most famous Highland works, speaks to an adventurous spirit and a willingness to experience diverse environments. This exposure to different landscapes and cultures likely broadened her artistic perspective, even if her primary muse remained the Scottish wilderness.
One of the most dramatic episodes from her life occurred during the 1918 influenza pandemic. While staying at the Aston Doyne estate in Scotland, she found herself trapped due to the widespread illness and quarantine measures. Her eventual "escape" from this situation adds another layer to her resourceful and determined character.
Beyond her artistic endeavors and adventurous travels, Collyer was also a woman of conviction. She is described as an activist, particularly concerning the rights of female art students. In an era when women were often denied access to the same educational opportunities as their male counterparts, especially the crucial practice of drawing from nude models, Collyer campaigned for change. This places her within a broader movement of early feminist advocacy, where women sought equal footing in professional and educational spheres. Her stance would have resonated with the efforts of other pioneering women artists across Europe, such as the French painter Rosa Bonheur, who famously had to obtain police permission to wear masculine attire to facilitate her animal studies in abattoirs and markets.
Furthermore, during the First World War, Collyer served as a nurse. This act of service, undertaken during a period of immense global upheaval, demonstrates a compassionate and courageous side to her personality, reflecting a commitment that went beyond her artistic pursuits.
Artistic Style, Influences, and Contemporaries
Collyer's artistic style can be firmly placed within the tradition of British realism, but with a distinctive vigor and atmospheric depth. Her meticulous attention to anatomical detail, the textures of fur and hide, and the play of light on the landscape, all speak to a rigorous observational practice. Unlike some Victorian animal painters who veered towards sentimentality, Collyer's animals, while often noble, retain a sense of wild authenticity.
Her depiction of Highland cattle and dramatic landscapes inevitably invites comparison with other Scottish painters of the era. Joseph Farquharson was renowned for his snow scenes, often featuring sheep, capturing the ethereal light of the Scottish winter. Peter Graham was another prominent artist celebrated for his evocative Highland landscapes, frequently populated by cattle, whose work shares a romantic sensibility with Collyer's, though perhaps with a different emphasis in composition and mood.
While Collyer's work was largely representational, the art world around her was undergoing seismic shifts with the advent of modernism. Movements like Impressionism, Post-Impressionism, and Fauvism were challenging traditional artistic conventions. Artists in Britain, such as those in the Camden Town Group, including Walter Sickert and Spencer Gore, were exploring new ways of seeing and depicting contemporary life. Collyer's adherence to a more traditional, realistic style does not diminish her significance; rather, it highlights her mastery within her chosen genre and her dedication to capturing the enduring beauty and power of the natural world. Her work provided a counterpoint to the avant-garde, appealing to a public that still valued skilled representation and evocative storytelling in art.
It's also worth noting the work of other female animal painters active around her time. Maud Earl, for instance, was a highly successful painter of dogs, whose work was widely reproduced. While their subjects might have overlapped, Collyer's broader focus on the wilder aspects of nature and the Scottish landscape set her apart.
Later Years and Enduring Legacy
The latter part of Margaret Collyer's life saw her move away from Britain. She eventually settled in Mozambique, a significant departure from the cool, misty climes of Scotland and the familiar artistic circles of London. She passed away in Maputo (then Lourenço Marques) in 1945. The reasons for this relocation and details of her artistic activities in Africa during these later years are less well-documented, presenting an area for potential further research.
Despite the relative obscurity of her later life, Margaret Collyer's legacy endures, primarily through the powerful imagery of her Highland paintings. The rediscovery of Lord of the Isles brought her name back into the public consciousness, reminding the art world of her considerable talent. Her work is valued not only for its artistic merit but also for its historical significance as a record of a particular vision of the Scottish Highlands and its wildlife.
Her advocacy for female art students also forms an important part of her legacy. In an era of significant social change, her efforts contributed to the gradual dismantling of barriers for women in the arts, paving the way for future generations. She stands as an example of a female artist who achieved recognition in a male-dominated field through sheer talent, hard work, and a distinctive artistic voice.
Margaret Collyer was more than just an animal painter; she was a chronicler of the wild, a woman of independent spirit, and a quiet pioneer. Her deep connection to the natural world, particularly the rugged beauty of the Scottish Highlands, infused her art with a timeless power. Her depictions of majestic stags, formidable bulls, and loyal hounds continue to resonate, offering a window into a world both untamed and intimately observed. As art history continues to re-evaluate and rediscover artists who may have been overlooked, Margaret Collyer's contributions to British art and her role as an early advocate for women artists deserve continued appreciation and study. Her life and work remind us of the enduring power of art to capture the spirit of a place, its creatures, and the unique vision of the individual behind the brush.
