Tag Archives: visual art

The Scotch-Irish Led the Colonies to Freedom

While Lars is off celebrating the history of one people, let me offer you some history of another people. One tenth of American colonists were from Scottish families who had moved to northern Ireland as pioneer farmers under the British Crown, an effort to quell “the wild Irish.” That effort worked, and Scottish Presbyterians found a measure of freedom and productivity they enjoyed. Then, as Britain has a tendency to do, the ruling class ruined it by raising taxes and trying to quell the Irish even more. The pioneer farmers felt the pressure from these measures and came to America, a place that many were told was free and like paradise.

They came to Pennsylvania first and later to all of the colonies, coloring the culture everywhere. Dr. James G. Leyburn writes, “In many ways the Scotch-Irish pioneers were indeed an augury of Americans-to-be. They were probably the first settlers to identify themselves as Americans—not as Pennsylvanians or Virginians” or any ethnic group. As such, these were colonists most vigorously in favor of rebelling against the British Crown.

“A Hessian captain wrote in 1778, ‘Call this war by whatever name you may, only call it not an American rebellion; it is nothing more or less than a Scotch Irish Presbyterian rebellion.’ King George was reported to have characterized the Revolution as ‘a Presbyterian war’ …” Leyburn says. These British officials saw the American Revolution as a Scottish Presbyterian uprising, which is not one of many characterizations of it, according to Leyburn. No other group of immigrants was accused of fueling the war like these Ulstermen.

Maybe these characterizations were made because it put the American conflict in familiar British terms. England had wrestled against Scottish and Irish independence for generations. Scottish Presbyterians, in particular, had been a torn beneath the crown for a long time because they wouldn’t conform to Anglican unification efforts.

But maybe Leyburn’s depiction of Scotch-Irish influence in America is accurate. He says, “Their daily experience of living on the outer fringe of settlement, of making small farms in the forests, of facing the danger of Indian attack and fighting back, called for qualities of self-reliance, ingenuity, and improvisation that Americans have ranked high as virtues. They were inaugurators of the heroic myth of the winning of the West that was to dominate our nineteenth century history.” They blended with another immigrants, pushing everyone into losing their immigrant labels and becoming simply American. Those labels would return 50-100 years later as people tried to distinguish themselves from new immigrants.

There’s a lot more to the story, which you can read in this American Heritage article taken from Leyburn’s book on the topic.

In other news . . .

Movie Adaptations: Joel Miller talks about The Children of Men as a book and a movie. “We sometimes forget how radically books and movies differ as media. Jumping from one to the other requires significant adjustment. Narration and character development must change, same with the amount of material capable of inclusion.”

YouTube Reaction: How much of YouTube content is reacting to other YouTube content, generating a new form of reality show? Call me Chato, a former TV exec, talks about it.

Make your own art: How to draw a sunset by Matthew Matthysen

An Artist of the Brandywine School, a Best-of List, and Dreaming of October

The Scythers by N. C. Wyeth (1908) Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.

Artist and illustrator N. C. Wyeth (1882-1945), trained by the famous Howard Pyle and painter of the Brandywine School, produced illustrations for many Scribner’s Classics editions such as Treasure IslandKidnappedThe Last of the Mohicans and The Yearling.

Best of: Ted Gioia offers his paid subscribers his reviews of the 50 best works of non-realist fiction (sci-fi, alt-history, fantasy, and more). Read the list for free (part one of five so far). The reviews are behind the paid wall.

Gothic Stories: Ray Bradbury released 27 stories in a collection called Dark Carnival. Eight year later, he had matured considerably as a writer and was able to republish a new, revised edition of 19 tales under the name October Country.

In this short span, he wrote his breakthrough story cycle, The Martian Chronicles, a book that signified a start to the genre’s inclusion in mainstream literature; published the celebrated science-fiction collection The Illustrated Man; followed up with the underrated collection of mixed fiction (fantasy and contemporary realist prose), The Golden Apples of the Sun; wrote his magnum opus, Fahrenheit 451; and began work on the screenplay for Moby-Dick for director John Huston.

Theology: Dale Nelson reviews a preface to fantasy author George MacDonald’s theology. He favored Christmas over the cross. “Christ came to show us complete childlike trust in the Father.”

What’s in a name?Six months and still your parents couldn’t name
the boy they wished a girl. They let a crowd
of tipsy cooers at their resort pluck
Edwin from a hat.”

Shakespeare, Antony and Cleopatra (V.ii)

Cleopatra: His legs bestrid the ocean, his reared arm
Crested the world. His voice was propertied
As all the tunèd spheres, and that to friends;
But when he meant to quail and shake the orb,
He was as rattling thunder. For his bounty,
There was no winter in ’t; an autumn ’twas
That grew the more by reaping. His delights
Were dolphin-like; they showed his back above
The element they lived in. In his livery
Walked crowns and crownets; realms and islands
were
As plates dropped from his pocket.

Dolabella: Cleopatra—
 
C: Think you there was, or might be, such a man
As this I dreamt of?

D: Gentle madam, no.

The Tolkien-inspired Artwork of Jay Johnstone Looks Like Religious Iconography

In a two-part interview, T.Q. Kelley talks to artist Jay Johnstone about this Tolkien-inspired artwork, which takes after iconography and illuminated manuscripts.

“This came about because of a very bizarre dream in which I was in a Celtic Scottish church,” Johnstone says. “And I had seen a lot of what I believe to be Christian iconography. But on closer inspection, the iconography had such a connection to Tolkien’s work. So when I saw pictures of Jesus, they were initially presumed to be a Christian icon of Jesus, but I saw it as Aragorn. I looked at Moses and saw Gandalf. There was a great connection between the images that I saw and the beliefs that Tolkien had, and it came to me literally in a dream.”

“Isildur’s Bane” by Jay Johnstone
“Isildur’s Bane” — Artwork by Jay Johnstone

Pursue and purchase Johnstone’s works from his website.

On the Benefits of Slowing Down

Jason Duesing talks about taking the time to stare at a painting, Caravaggio’s “Saint John the Baptist in the Wilderness” and what slowing down could mean for anyone.

https://jgduesing.com/the-christian-art-and-rediscovering-john-the-baptist/

The Ethereal Artist Hercules Segers

Even in his most representational works, like a wonderfully detailed View Through the Window of his spacious house in Amsterdam, Segers introduced fanciful elements—a line of trees in the distance, for example, when the actual view consisted of houses and other buildings. He let accidents dictate content. Cutting up a printing-plate he had used for a large ship, he turned the fragments into landscapes instead, with the rigging and mast morphing into tree branches. In a fascinating related development, the steps of which are documented in the exhibition, Rembrandt took a plate that Segers had etched of the biblical subject of Tobias dragging a big fish, made some adjustments, and transformed it into Joseph leading a donkey, with Mary aboard, on the Flight to Egypt. But whether Rembrandt was inspired by Segers’s own experiments with recycled images or thought he could improve on Segers’s figures, is unknown.

(via Prufrock News)

River of Books in the Street

In Toronto, they throw books in the street and call it art to make a statement about congested traffic.

“We want literature to take over the streets and conquer public spaces, freely offering those passersby a traffic-free place which, for some hours, will succumb to the humble power of the written word.”

They laid down this artistic installation on one of the city’s busiest streets.

“Thus, a city area which is typically reserved for speed, pollution and noise, will become, for one night, a place for quietness, calm and coexistance illuminated by the vague, soft light coming out of the lighted pages.”

During the exhibit, people walked on the books, took pictures of themselves on the books, and took most of the books home with them. I don’t know whether Toronto’s traffic congestion has changed since receiving this smite from the humble word.

Virtually Exploring a Dali Painting

Archaeological Reminiscence of Millet's Angelus, 1935

The Dali Museum has developed a virtual reality presentation of Dali’s Archeological Reminiscence of Millet’s “Angelus” for visitors to explore like a game, taking surrealism to a new technological level. They have also included “some of the recurring motifs from his other paintings in the museum’s permanent collection, including Weaning of Furniture Nutrition (1934), Lobster Telephone (1936) and First Cylindric Chromo-Hologram Portrait of Alice Cooper’s Brain (1973).”

Japanese Illustrated Coffee Cups

Illustrator Adrian Hogan says a friend of his, another artist, inspired him to illustrate disposable coffee cups with Tokyo street scenes. CNN has the story.

God in the Modern Wing

Chagall's White Crucifixion

This talk by Matthew Milliner, assistant professor of art history at Wheaton College, is a bit heady, but there are some wonderful gems in here, if you have an interest in contemporary art. His expository of Marc Chagall and his White Crucifixion is particularly relevant.

Museum of Biblical Art Closing

Museum of Biblical Art

The Museum of Biblical Art in New York will be closing June 14. Founded by the American Bible Society in 1997, the museum needed to find a new venue soon and could not do it.

“I believe that MOBIA contributes a unique element to the cultural landscape of New York and the entire country, and it is with tremendous sorrow that we close our doors,” said Co-Chair of the MOBIA Board of Trustees John Fossum.

Mike Duran states, “It is indeed a tragedy if we can’t acknowledge the Bible and its influence as one of the great sources of modern Western art and culture,” but he wonders “whether the mainstream evangelical perspective of art has created an impassable breach.” Is a secular museum on biblical art an uncomfortable topic for Americans, particular New Yorkers?

The Atlantic answers this way. “The absence of religious context for religious art in American museums was not, as one might assume, a product of the culture wars or a precocious expression of the new atheism. It was actually the result of several hundred years of aesthetic politics.”

They quote Marcus Burk, senior curator at the Hispanic Society of America, saying, “This is just a torpedo at the water-line. It’s an enormous loss to the cultural life of New York and the whole country.”