Monarch of the Glen portray moved to new spot in gallery forward of opening
C
elebrated portray The Monarch of the Glen has been moved into its new place forward of the opening of the Scottish galleries on the National in Edinburgh.
The image by Sir Edwin Landseer is one in all greater than 130 artworks taking over residence within the new areas, which open on September 30.
Works by pioneering Scottish artists reminiscent of William McTaggart, Anne Redpath, Phoebe Anna Traquair, Charles Rennie Mackintosh and the Glasgow Boys shall be amongst these on show.
The Monarch of the Glen was initially supposed as a part of a collection of three works to be displayed within the House of Lords, however the scheme was by no means realised and the portray was bought to a personal collector quickly after its completion.
From the second it was first exhibited in 1851 on the Royal Academy in London it proved immensely in style.
In 1916 it was bought by Sir Thomas Dewar and from that time on it was often used as a advertising and marketing picture, first by Pears Soap, then by John Dewar & Sons Distillery and Glenfiddich, and later by Nestle and Baxters soup.
Sir John Leighton, director-general of the National Galleries of Scotland, stated: “Landseer’s The Monarch of the Glen is one of the most potent and familiar images associated with Scotland.
“The proud stag is recognisable across the world from his long career in marketing, adorning just about every kind of product imaginable, from soap and whisky to countless shortbread tins.
“Today, it remains a compelling and contested image, viewed by some as the ultimate evocation of the romance of the Highlands, by others as a gloss on the harsh realities of life in the Scottish countryside in the 19th century.
“Love it or hate it, no-one can deny that it is an extraordinary, powerful painting. You are warmly invited to see this incredible work of art in its new setting at the National.”
Sir Edwin Landseer (1802-73) first visited Scotland in 1824 and was overwhelmed and impressed by the expertise of the panorama and its folks.
He returned on sketching expeditions yearly in late summer season and the autumn and his ensuing work ranged from intimate and remarkably contemporary panorama research, painted on the spot, to his most well-known large-scale image, The Monarch of the Glen.