‘Wider than the realm of England’: the Hosack family heritage, Atlantic slavery and casting Mary, Queen of Scots for the nation

IF 0.3 3区 艺术学 0 ART
Liberty Paterson
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Abstract

In 1871 the Scottish-born magistrate John Hosack (1809–87) was described as ‘the chivalrous and most recent defender’ of Mary, Queen of Scots. After writing a popular historical account of her life, he had presented a plaster cast bust of her Westminster effigy to London’s National Portrait Gallery, which it then used to create an electrotype sculpture with the help of Elkington & Co. This article interrogates the ‘value’ of this sculpture as a cultural heritage object by retracing its history. It places Hosack’s desire to replicate and commemorate Scottish heritage alongside his family ties to Jamaica, including the parallel life of his half-brother William and the wealth John derived from his father’s sugar profits, which relied on African enslavement. It argues the importance of understanding how such legacies enabled individuals to participate in cultural philanthropy in the Victorian period, which simultaneously distanced them from their Atlantic pasts. It also considers how, in its transformation into an electrotype, Hosack’s cast became part of a wider effort by museums and galleries to replicate national heritage using manufacturing methods indebted to the industrial economy intertwined with the British Empire. Sculpture offered a powerful medium through which to fortify national history, but its commemorative capacity can, and should, be unpicked to better understand British legacies of enslavement and colonialism.
比英格兰国土更广阔":霍萨克家族的遗产、大西洋奴隶制以及为国家塑造苏格兰女王玛丽
1871年,苏格兰出生的地方法官约翰·霍萨克(John Hosack, 1809 - 1887)被描述为苏格兰女王玛丽的“骑士和最近的捍卫者”。在写了一篇关于她生活的通俗历史报道之后,他向伦敦国家肖像画廊(National Portrait Gallery)赠送了一尊她在威斯敏斯特的石膏半身像,然后在Elkington & Co的帮助下,它被用来制作一个电印雕塑。这篇文章通过追溯它的历史,来质疑这个雕塑作为文化遗产的“价值”。这本书将霍萨克复制和纪念苏格兰传统的愿望与他与牙买加的家庭关系放在一起,包括他同父异母的兄弟威廉的平行生活,以及约翰从他父亲依赖非洲奴役的糖业利润中获得的财富。它认为,理解这些遗产是如何使个人参与维多利亚时期的文化慈善事业的重要性,这同时使他们远离了大西洋的过去。它还考虑了霍萨克的铸件在转变为电铸的过程中,如何成为博物馆和画廊更广泛努力的一部分,这些博物馆和画廊利用与大英帝国交织在一起的工业经济的制造方法来复制国家遗产。雕塑为巩固国家历史提供了一种强有力的媒介,但为了更好地理解英国的奴役和殖民主义遗产,它的纪念能力可以、也应该被取消。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.10
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32
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