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David WilkieThe People's Painter$
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Nicholas Tromans

Print publication date: 2007

Print ISBN-13: 9780748625208

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748625208.001.0001

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Conclusion

Conclusion

Chapter:
(p.264) Conclusion
Source:
David Wilkie
Author(s):

Nicholas Tromans

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748625208.003.0006

The picturesque, in its basic sense of a vision of reality guided through the optic of the classic painters of the past, was a constant characteristic of David Wilkie's imagery. In the Scottish Enlightenment's models of visual culture, the direct experience of the objects of vision was equated as much with feeling as with dispassionate analysis. The realism that Wilkie was seen to have achieved with his first pictures evaporated after about 1815, and the exhaustion just referred to was signalled by the more intrusive semantic structures that Wilkie imported into his genre scenes in the post-war years. Dark, rich, Baroque colouring, along with nostalgic visions of an earthily decent Scottishness, became the hallmarks of the ‘fine old Scotch school’ to which Walter Sickert paid tribute in 1910 upon its passing into history with the death of W. Q. Orchardson.

Keywords:   David Wilkie, Scottish Enlightenment, visual culture, realism, Scottishness, Walter Sickert, W. Q. Orchardson

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