Navigation – Plan du site

A Scot in Ireland: Erskine Nicol’s Mid-19th Century Self-Portraits

Amélie Dochy

Résumés

Cet article étudie trois autoportraits d’Erskine Nicol (1825–1904) intitulés Self-Portrait with a Rustic Companion (1855), Donnybrook Fair (1859) et Two Figures in an Interior (1863), dans lesquels l’artiste s’est représenté dans un environnement irlandais, ce qui est paradoxal pour un peintre d’origine écossaise. En effet, son identité nationale s’efface au profit d’un tel décor. Marquées par certaines caractéristiques typiques du genre, ces images mettent toutefois en question le genre même de l’autoportrait en incluant des éléments de caricature ou la présence d’autres personnages qui signalent une volonté de dépasser l’image de soi. Ces tableaux constituent en fait une invitation à découvrir le talent du peintre et sa vision artistique du monde.

Haut de page

Extrait du texte

Ce document sera publié en ligne en texte intégral en mai 2020.

Aperçu du texte

Erskine Nicol, Two Figures in an Interio

Erskine Nicol, Two Figures in         an Interio

Bodycolour and graphite on paperboard, 16 x 11 cm, 1863, private collection.

© Amélie Dochy, all rights reserved.

Many young men challenge the view of their parents when they become teenagers, and this was the case of the Scottish artist Erskine Nicol. Born in Leith in 1825, he was the son of a cooper who dreamed of a commercial career for his eldest child. However, at the early age of 12, Erskine Nicol entered the Trustees’ Academy in Edinburgh to receive an artistic education, and he was soon followed by his cousin, Peter Cleland (1818-1902) in the 1840s. Together, they decided to leave Scotland in order to set up a school in Dublin so that in 1846, Erskine Nicol resigned from his job as a drawing teacher at Leith High School. The cousins arrived in the Irish capital the same year, but their plan failed and Peter went back to Scotland while ...

Haut de page

Pour citer cet article

Référence électronique

Amélie Dochy, « A Scot in Ireland: Erskine Nicol’s Mid-19th Century Self-Portraits », Études irlandaises [En ligne], 43-1 | 2018, mis en ligne le 30 mai 2020, consulté le 22 septembre 2018. URL : http://journals.openedition.org/etudesirlandaises/5512 ; DOI : 10.4000/etudesirlandaises.5512

Haut de page

Auteur

Amélie Dochy

Université de Toulouse II. Amélie Dochy taught at the National University of Ireland (Maynooth) before sitting the French civil service exam for a tenured English teaching position (“Agrégation d’Anglais”) in 2009. She then became a Research Assistant at the University of Toulouse II (France) and her PhD in Irish studies focused on the topic of “Cliché, Compassion or Commerce? The Representations of the Irish by the Scottish Painter Erskine Nicol (1850-1904)”. She adopted a post-colonial approach in analysing the portrayal of the Irish through the iconography of Nicol’s prolific depictions. She was awarded the Sydney Forado Prize by the “Académie des Sciences et Belles Lettres” (Toulouse) in recognition of her choice of an historical approach. She is currently a Senior Lecturer at the University of Toulouse II and her research interests include visual representations of the Irish in the second half of the nineteenth century.

Haut de page

Droits d’auteur

© Presses universitaires de Rennes

Haut de page