15 Works, June 25th. is Robert Scott Lauder's day, his story, illustrated with footnotes #172

Robert Scott Lauder (1803–1869)

The Shepherdess

Oil on canvas

H 75 x W 111 cm

Paisley Museum and Art Galleries

Robert Scott Lauder RSA (25 June 1803 – 21 April 1869) was a Scottish artist who described himself as a "historical painter". He was one of the original members of the Royal Scottish Academy.

Robert Scott Lauder (1803–1869)

The Bride of Lammermoor, c. 1831

Oil on canvas

H 97.8 x W 126.4 cm

Dundee Art Galleries and Museums Collection

The Bride of Lammermoor is a historical novel by Sir Walter Scott, published in 1819. The novel is set in the Lammermuir Hills of south-east Scotland, shortly before the Act of Union of 1707, or shortly after the Act. It tells of a tragic love affair between young Lucy Ashton and her family's enemy Edgar Ravenswood. Scott indicated the plot was based on an actual incident. The Bride of Lammermoor and A Legend of Montrose were published together anonymously as the third of Scott's Tales of My Landlord series. The story is the basis for Donizetti's 1835 opera Lucia di Lammermoor.

The story recounts the tragic love of Lucy Ashton and Edgar, Master of Ravenswood. Edgar's father was stripped of his title for supporting the deposed King James VII. Lucy's ambitious father, Sir William Ashton, then bought the Ravenswood estate. Edgar hates Sir William for this usurpation of his family's heritage, but on meeting Lucy, falls in love with her, and renounces his plans for vengeance. More on The Bride of Lammermoor

Robert Scott Lauder (1803–1869)

The Trial of Effie Deans

Oil on canvas

H 143.5 x W 236.5 cm

Hospitalfield House, Angus, Scotland

The Heart of Mid-Lothian is the seventh of Sir Walter Scott's Waverley Novels, under the title of Tales of My Landlord. The author was given as "Jedediah Cleishbotham, Schoolmaster and Parish-clerk of Gandercleugh". The main action, which takes place between September 1736 and May 1737, is set in motion by the Porteous Riots in Edinburgh and involves an epic journey from Edinburgh to London by a working-class girl to obtain a royal commutation of the death penalty incurred by her sister for the alleged murder of her new-born baby. More on Effie Deans

Robert Scott Lauder (1803–1869)

The penance of Jane Shore

Oil on canvas

133 x 180 cm. (52.4 x 70.9 in.)

Private collection

Elizabeth "Jane" Shore was one of the many mistresses of King Edward IV of England. She became the best-known to history through being later accused of conspiracy by the future King Richard III, and compelled to do public penance. She was also a sometime mistress of other noblemen, including Edward's stepson. She ended her life in bourgeois respectability. More on Jane Shore

Lauder was born at Silvermills, Edinburgh, the third son of Helen Tait (d.1850) and John Lauder of Silvermills (d. 1838), Burgess of Edinburgh and proprietor of the tannery at Silvermills. After attending the Royal High School he went to London, where his eldest brother William was engaged in the family business.

Robert Scott Lauder (1803–1869)

A LADY AND HER KNIGHT ERRANT, POSSIBLY A SCENE FROM IVANHOE

Oil on canvas,

64 x 49cm

Private collection

He returned to Edinburgh in about 1826 and was elected one of the original members of the Royal Scottish Academy in 1830. At this point Lauder was living with his brother William Lauder. On 9 September 1833 at St Cuthbert's Church in Edinburgh he married Isabella Ramsay Thomson and they then went abroad, accompanied by his younger artist-brother, James Eckford Lauder. Robert studied for some years in Rome, Florence, Bologna, Venice and Munich.

Robert Scott Lauder

Ruth

Oil on canvas

50 x 40 in. (127 x 101.6 cm.)

Private collection

Ruth was a Moabite woman had come to Israel as the widow of an Israelite man. She had returned with her mother-in-law, Naomi, who had also lost her husband. They lived together in a humble situation, and Ruth would go to the fields each day to glean food in the fields during the harvest.

 

Boaz was a landowner where Ruth came to find grain. He knew of her situation and told his workers to leave plenty of grain for her to find. Boaz also offered her food with the other workers and encouraged her to work in the safety of his fields throughout the harvest.

Robert Scott Lauder

Ruth

Oil on canvas laid down

127cm x 101.5cm

Private collection

 

Naomi noted that Boaz was a close relative who, according to Jewish law, had the right to marry Ruth after the death of her husband. Naomi encouraged Ruth to go to Boaz in the evening and present herself willing to accept a marriage proposal from him. When she did, he was pleased, yet noted that there was one relative who was closer in line to marry Ruth.

 

The next day, Boaz met with this relative and presented the situation. The relative turned down the offer as he felt it would cause harm to his own family situation. Boaz then made a commitment in front of the town’s leaders that he would take Ruth as his wife. More about Ruth

Robert Scott Lauder (1803–1869)

Hagar and Ishmael

Oil on panel.

33 x 29cm (13 x 11 1/2in)

Private collection

Hagar is a biblical person in the Book of Genesis Chapter 16. She was an Egyptian handmaid of Sarah, who gave her to Abraham "to wife" to bear a child. The product of the union was Abraham's firstborn, Ishmael, the progenitor of the Ishmaelites.

After Sarah gave birth to Isaac, and the tension between the women returned. At a celebration after Isaac was weaned, Sarah found the teenage Ishmael mocking her son, and demanded that Abraham send Hagar and her son away. She declared that Ishmael would not share in Isaac's inheritance. Abraham was greatly distressed but God told Abraham to do as his wife commanded because God's promise would be carried out through both Isaac and Ishmael.

The name Hagar originates from the Book of Genesis, and is only alluded to in the Qur'an. She is considered Abraham's second wife in the Islamic faith and acknowledged in all Abrahamic faiths. In mainstream Christianity, she is considered a concubine to Abraham. More on Hagar

Robert Scott Lauder (1803–1869)

Presentation of the Virgin in the Temple (after Titian)

Oil on canvas

H 74.7 x W 140.6 cm

Royal Scottish Academy of Art & Architecture

The Presentation of the Blessed Virgin Mary, or The Entry of the Most Holy Theotokos into the Temple, is a liturgical feast. The feast is associated with an event recounted not in the New Testament, but in the apocryphal Infancy Narrative of James. According to that text, Mary's parents, Joachim and Anne, who had been childless, received a heavenly message that they would have a child. In thanksgiving for the gift of their daughter, they brought her, when still a child, to the Temple in Jerusalem to consecrate her to God. Later versions of the story tell us that Mary was taken to the Temple at around the age of three in fulfillment of a vow. Tradition held that she was to remain there to be educated in preparation for her role as Mother of God. More on The Presentation of Mary

This is a reduced copy of Titian’s Presentation of the Virgin (335 x 775 cm, 1534-1538, Gallerie dell'Accademia). Lauder resided in Rome between 1833 and 1838, and he probably saw and executed this copy when passing through Venice upon his slow return to Britain in 1838. More on this painting

Robert Scott Lauder (1803–1869)

Study for 'Christ Teacheth Humility', c.1847

Oil on canvas

H 32.5 x W 57.6 cm

National Galleries of Scotland, Scottish National Gallery

Robert Scott LauderScottish

Christ Teacheth Humility, c. 1847

Oil on canvas

National Galleries of Scotland

The rebuilding of the Houses of Parliament after the devasting fire of 1834 prompted the state to encourage the production of large-scale narrative paintings through a series of public competitions. Lauder, who was based in London for a time, took two years to complete this work which he entered into the 1847 competition. The jury admired Lauder's effort, but his rich colours and luscious paintwork were not to their taste, and his submission was rejected. Two years, later the Royal Association for the Promotion of the Fine Arts in Scotland purchased the painting to make it one of the very first works in the collection of the National Gallery of Scotland. More on this painting

Robert Scott Lauder (1803–1869) (attributed to)

Christ and the Woman Taken in Adultery

Oil on paper pasted to board

H 38.2 x W 24.7 cm

National Galleries of Scotland, Scottish National Gallery

Jesus was teaching in the temple after coming from the Mount of Olives. A group of scribes and Pharisees confronts Jesus, interrupting his teaching. They bring in a woman, accusing her of committing adultery, claiming she was caught in the very act. They tell Jesus that the punishment for someone like her should be stoning, as prescribed by Mosaic Law.[1] Jesus begins to write something on the ground using his finger. But when the woman's accusers continue their challenge, he states that the one who is without sin is the one who should cast the first stone at her. The accusers and congregants depart realizing not one of them is without sin either, leaving Jesus alone with the woman. Jesus asks the woman if anyone has condemned her and she answers no. Jesus says that he, too, does not condemn her, and tells her to go and sin no more. More on Christ and the Woman Taken in Adultery

Robert Scott Lauder (1803–1869)

The Crucifixion (study)

Oil on canvas

H 123.2 x W 83.1 cm

Royal Scottish Academy of Art & Architecture

Robert Scott Lauder (1803–1869)

Christ and the Two Disciples on the Way to Emmaus, c. 1850

Oil on canvas

H 119 x W 98.4 cm

Dundee Art Galleries and Museums Collection (Dundee City Council)

Luke indicates that Jesus appears after his resurrection to two disciples who are walking from Jerusalem to Emmaus, which is described as being 60 stadia. One of the disciples is named Cleopas. More on Emmaus

Lauder returned to London in 1838 where he lived for several years. Whilst in London he exhibited at the Royal Academy and competed in the Westminster Hall competition of 1847, sending his Christ walking on the Sea, which was subsequently purchased by Lady Angela Burdett-Coutts, 1st Baroness Burdett-Coutts. He became the first president of the short-lived National Institution of Fine Arts and also exhibited there.

Robert Scott Lauder (1803–1869) (pupil of)

Life Study of Two Nude Models

Oil on canvas

H 70.4 x W 50.5 cm

Edinburgh College of Art (University of Edinburgh)

He later removed back to Edinburgh in 1849. Sir Walter Scott's novels provided him with subjects for many of his most successful historical paintings. About 1860 he suffered a paralytic stroke and did not practice after 1861. He died at Edinburgh from a bout of bronchitis on 21 April 1869, still paralysed. More on Robert Scott Lauder

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