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15Mh Còmhdhail Eadar-Nàiseanta Na Ceiltis, Glaschu CLÀR CONTENTS

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15Mh Còmhdhail Eadar-Nàiseanta Na Ceiltis, Glaschu CLÀR CONTENTS © CSG CIC Glasgow Museums Collection. ‘The Druids ‑ Bringing in the Mistletoe’, (G. Henry and E. A. Hornel, 1890) Museums Collection. © CSG CIC Glasgow ‘The Druids ‑ Bringing in the Mistletoe’, 15MH CÒMHDHAIL EADAR-NÀISEANTA NA CEILTIS 13–17 an t-Iuchar 2015, Oilthigh Ghlaschu 15TH INTERNATIONAL CONGRESS OF CELTIC STUDIES 13–17 July 2015, University of Glasgow www.celticstudiescongress.org Co-haglym Ed dy r-A s ho o ngres Astud n Cy ia a h | et g c ha h a u te r il C y e el ar e ad St l h C ro u t o b d a n e io i i r d n t ù S E d a K t é h u ' e R L l d c l t y a i e a n k e s y d e k g r s a n y w | t a e s l K l n s K a u y ú w d #iccs15 | i s @iccs15 n n o s e t s i e l C K e á l i | l e k n e d I r e s l n t i t u l S t t i e t d e u a K d S I h w y r o g n l c i i h a t t l á i | o e h n C C a f d l o C ò s o s h n e r g m m h o d C h | a i s l i t E l i a e d a C r a - N n à a i t s e n a DEALBH A’ CHÒMHDAICH THE COVER IMAGE The Druids – Bringing in the Mistletoe (G. Henry and E. A. Hornel, 1890) © CSG CIC Glasgow Museums Collection. ’S e an dealbh ainmeil ‘The Druids: Bringing in the Mistletoe’ George Henry and Edward Atkinson Hornel’s famous ‘The Druids: le George Henry agus Edward Atkinson Hornel an dealbh as Bringing in the Mistletoe’ is one of the most striking – and best- drùidhtiche – agus as miadhaile air a bheil daoine – dhe na dealbhan a loved – of all the paintings produced by ‘The Glasgow Boys’, the chaidh a dhèanamh le ‘Balaich Ghlaschu’, a’ bhuidheann chliùiteach reknowned group of artists who revolutionised Scottish painting at de luchd-ealain a thug cruth-atharrachadh air peantadh na h-Alba the end of the 19th century. A key work in Scotland’s Celtic Revival, aig deireadh an 19mh linn. Dh’adhbhraich an dealbh, a tha air leth the painting caused a furore when it was first exhibited in London cudromach ann an Ath-bheothachadh Ceilteach na h-Alba, othail and Munich in 1890. The work impressed with its daring use of an uair a chaidh a thaisbeanadh an toiseach ann an Lunnainn agus colour, the sheer force of its unusual and innovative composition ann am Munich ann an 1890. Choisinn an dealbh cliù leis an dòigh anns an deach dath a chleachdadh, an dòigh chumhachdach agus and the high relief effect of its thickly applied paint. Its use of gold innleachdail anns an deach a dhèanamh, agus an dòigh anns a bheil leaf anticipates Gustav Klimt by almost a decade. This beautiful talamh cas air a riochdachadh le bhith a’ cur iomadh còmhdach painting, so full of texture and bold patterns, was radical not only in peant oirre. Tha cleachdadh nan duilleagan òra air a dhèanamh deich appearance but also in being the product of a seamless collaboration bliadhna mus do rinn Gustav Klimt e. Cha b’ ann ann an dreach between two artists. a-mhàin a bha an dealbh àlainn seo radaigeach, ’s i cho ioma-fhillte agus le pàtrain làidir, ach cuideachd air sgàth ’s gun do dh’èirich i bho cho-obrachadh cho coileanta eadar dithis luchd-ealain. Tha sealladh nan Draoidhean a’ buain draoigh-lus fo ghealach The scene of Druids harvesting mistletoe under a waxing moon a’ cinntinn a’ tarraing air cunntas ainmeil Plionaidh agus tha e a’ draws on Pliny’s famous account and reflects Hornel’s antiquarian sealltainn an rannsachaidh eachdraidheil a rinn Hornel agus na researches and interest in Scottish folklore. The artists went to great h-ùidh a bha aige ann am beul-aithris na h-Alba. Rinn an luchd- pains to ensure the archaeological accuracy with which they evoked ealain obair mhòr gus dèanamh cinnteach gum biodh an dealbh this imagined scene from Scotland’s Celtic past. And yet there is ceart a thaobh arc-eòlais anns an dòigh anns an do dh’fhoillsich more to this procession than meets the eye. The lack of perspective, iad an sealladh mac-meanmnail seo bho eachdraidh Cheilteach na the presence of halos and the sculptural quality of the figures gives h-Alba. Agus a dh’aindeoin sin tha barrachd san t-sreath dhaoine them the appearance of medieval saints, and a close examination seo na shaoilear air a’ chiad shealladh. Tha an cion buaidh-astair, na riombaill agus inbhe snaigheadh nan daoine a’ toirt orra coimhead of their physiognomy reveals that these druids – who are young, coltach ri naoimh bho na meadhan-aoisean, agus tha mion- old, male and female – are drawn from many races of the world. sgrùdadh dhen nàdar aca a rèir an dealbhachaidh a’ sealltainn gu This aspect of the painting reflects Henry and Hornel’s encounter bheil na draoidhean seo – a tha òg, sean, fireann agus boireann – with native American and other non-European participants in air an tarraing bho iomadh cinneadh air feadh an t-saoghail. Tha the International Exhibition of Science, Art and Industry held buaidh air a’ phàirt seo dhen dealbh bho choinneachadh a bh’ aig in Kelvingrove Park (beside the University) in 1888, which was Henry agus Hornel ri tùsanaich Aimeireaganach agus feadhainn eile attended by over 5.7 million people. The exhibition aimed to raise nach buineadh dhan Roinn-Eòrpa aig Taisbeanadh Eadar-nàiseanta funds to build a much-needed museum, art gallery and school of art Saidheans, Ealainean agus Gnìomhachais a chaidh a chumail ann am in the city and it is fitting that the museum which was subsequently Pàirc Kelvingrove (ri taobh an Oilthighe) ann an 1888, aig an robh built with these funds – Kelvingrove Art Gallery and Museum – còrr is 5.7 millean neach an làthair. Bha an taisbeanadh ag amas air now houses Henry and Hornel’s masterwork. airgead a thogail airson taigh-tasgaidh, ealain-lann agus sgoil-ealain a thogail anns a’ bhaile, rud air an robh feum mhòr aig an àm. Tha e iomchaidh gur ann anns an taigh-tasgaidh a chaidh a thogail leis an airgead a chaidh a thional – Ealain-lann agus Taigh-tasgaidh Kelvingrove – a tha an t-sàr-obair aig Henry agus Hornel. Faic: Roger Billcliffe, Kenneth McConkey, agus Mark O’Neill (2010) See: Roger Billcliffe, Kenneth McConkey, and Mark O’Neill (2010) Pioneer Painters: The Glasgow Boys, Glasgow Museums, 68–71. Pioneer Painters: The Glasgow Boys, Glasgow Museums, 68–71. Tha sinn air leth taingeil dha Glaschu Beò airson cead a thoirt an We are most grateful to Glasgow Life for allowing us to use this ìomhaigh seo a chleachdadh airson Còmhdhail Eadar-nàiseanta image for the Celtic Studies Congress, and encourage delegates to na Ceiltis. Mholadh sinn do luchd-frithealaidh na còmhdhail take a little time out to view the magnificent original. Kelvingrove dol a choimhead air an dealbh eireachdail fhèin. Tha Ealain- Art Gallery is adjacent to the University, and open 7 days a week, lann Kelvingrove ri taobh an Oilthighe agus fosgailte 7 latha san 1000–1700 (except Fridays and Sundays 1100–1700), entry is free. t-seachdain, 1000–1700 (ach Dihaoine agus Latha na Sàbaid 1100 –1700. Saor an-asgaidh. 15th International Congress of Celtic Studies, Glasgow 1 SUAICHEANTAS NA CÒMHDHALACH THE CONGRESS LOGO Tha ceithir ìomhaighean aig a bheil dlùth cheangal ri naomh Our logo comprises four symbols closely associated with Ghlaschu, Kentigern (’s cinnteach gur esan an Conthigirnus, a Glasgow’s patron saint, Kentigern (probably the Conthigirnus dh’eug ann an 612/614 a rèir Annales Cambriae, agus b’ ann bhon who died in 612/614 according to Annales Cambriae, his name dualchas Chuimreach, Cyndeyrn Garthwys yn y Gogledd, a thàinig an derived from *Cuno-tigernos), in later Welsh tradition, Cyndeyrn t-ainm *Cuno-tigernos), ach bidh muinntir Ghlaschu nas eòlaiche Garthwys yn y Gogledd, but more familiar to Glaswegians by his air leis an ainm Mungo. Tha eòlas air na h-ìomhaighean seo mar: pet-name of Mungo. These symbols are known affectionately as: a’ chraobh nach do dh’fhàs, the tree that never grew, an t-eun nach deach air iteig, the bird that never flew, an t-iasg nach do shnàmh, the fish that never swam, an clag nach do sheirm. the bell that never rang. Chan e a-mhàin gu bheil ‘an t-eun, an clag, an t-iasg agus a’ Not only do ‘the bird, the bell, the fish and the tree’ appear in chraobh’ a’ nochdadh air suaicheantas Oilthigh Ghlaschu agus the crest of the University of Glasgow and of the City itself, but air suaicheantas a’ Bhaile fhèin, ach chithear iad ann an iomadh can be spotted around the town decorating miscellaneous items, àite, air togalaichean, ionadan-fasgaidh bhusaichean agus air from buildings to bus-shelters and lamp-posts. The symbols first solais-sràide. Tha na h-ìomhaighean a’ nochdadh an toiseach air appear on seals of the Medieval bishops of Glasgow where they seulan fear de dh’easbaigean Meadhan-aoiseach Ghlaschu, far a represent episodes in Jocelyn of Furness’s late 12th-century Vita bheil iad a’ riochdachadh phàirtean fa leth ann am Vita Kentigerni Kentigerni.
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