拍品专文
Born in Glasgow and named after the wartime hero Horatio Nelson, he studied under the Glasgow landscape painter John Knox (1778-1845) who is generally acknowledged to be the principal contributor to the development and establishment of the disciplines of landscape painting during the first quarter of the nineteenth century. Although little is known of the early relationship between McCulloch and Knox, the exhibitions of Works by Living Artists held between 1821-1827 would have provided sufficient opportunity to assess the development of this genre.
Around 1824, McCulloch and his lifelong friend Daniel Macnee were employed as snuff-box decorators with Messrs Smith, Cumnock, Ayrshire and later by the Edinburgh engraver William Home Lizars (1778-1859). This was to prove an invaluable opportunity to meet fellow artists who increasingly provided a new vision to his interpretation and awareness of the historical and romantic associations of the landscape. At this time, there were comparatively few opportunities for West of Scotland artists to either practise or preview modern paintings, and as such, young artists including Alexander Nasmyth and David Roberts served their apprentice years as scenery painters at the Old Theatre Royal, Glasgow.
The literature of Sir Walter Scott together with the considerable appreciation of Robert Burns provided both the poetic expression and romantic interpretation of Scottish history and the Highland landscape which influenced the emergence of a group of painters inspired by the beauty of nature's landscape.
Our research had indentified two versions of this subject which were painted between 1855-1856, the larger of which was purchased by John Houldsworth, a trustee of Anderson's Institution, Glasgow. A prominent Glasgow industrialist whose renowned collection of Modern British pictures included works by Clarkson Stanfield, David Roberts, Sir Edwin Landseer.
Around 1824, McCulloch and his lifelong friend Daniel Macnee were employed as snuff-box decorators with Messrs Smith, Cumnock, Ayrshire and later by the Edinburgh engraver William Home Lizars (1778-1859). This was to prove an invaluable opportunity to meet fellow artists who increasingly provided a new vision to his interpretation and awareness of the historical and romantic associations of the landscape. At this time, there were comparatively few opportunities for West of Scotland artists to either practise or preview modern paintings, and as such, young artists including Alexander Nasmyth and David Roberts served their apprentice years as scenery painters at the Old Theatre Royal, Glasgow.
The literature of Sir Walter Scott together with the considerable appreciation of Robert Burns provided both the poetic expression and romantic interpretation of Scottish history and the Highland landscape which influenced the emergence of a group of painters inspired by the beauty of nature's landscape.
Our research had indentified two versions of this subject which were painted between 1855-1856, the larger of which was purchased by John Houldsworth, a trustee of Anderson's Institution, Glasgow. A prominent Glasgow industrialist whose renowned collection of Modern British pictures included works by Clarkson Stanfield, David Roberts, Sir Edwin Landseer.