Table of Contents

Contents: Introduction, Fintan Cullen and John Morrison; 'Schottenstift: a quiet mix': artists of the Scottish diaspora, their integration with and contribution to European visual culture, Jeremy Howard; 'Into the Cyclops eye': James Barry, historical portraiture, and colonial Ireland, Luke Gibbons; Envisioning Burns, Murdo Macdonald; Towards a national art?: George Petrie's two versions of The Last Circuit of Pilgrims of Clonmacnoise, Tom Dunne; Highlandism and Scottish identity, John Morrison; Marketing national sentiment: lantern slides of evictions in late nineteenth-century Ireland, Fintan Cullen; Imagining and imaging the land: some ideological formations of landscape photography in Scotland, Tom Normand; Authenticity and identity as visual display: Scottish and Irish home arts and industries, Janice Helland; Patterns of taste: Scottish collectors and the making of cultural identity in the late nineteenth century, Frances Fowle; The cultural front: Scotland and Northern Ireland, 1940-42, Euan McArthur; Excavating Room 50: Irish painting and the Cold War at the 1950 Venice Biennale, Fionna Barber; Mapping emotion: longing and location in the work of Kathy Prendergast, Catherine Nash; Index.

About the Author

Fintan Cullen is Professor of Art History at the University of Nottingham, UK. John Morrison is Senior Lecturer in History of Art at the University of Aberdeen, UK. Fintan Cullen, John Morrison, Jeremy Howard, Luke Gibbons, Murdo Macdonald, Tom Dunne, Tom Normand, Janice Helland, Frances Fowle, Euan McArthur, Fionna Barber, Catherine Nash.