Dürer to Van Dyck: Drawings From Chatsworth House.
After reading about the rarity and significance of the Devonshire Collections, I was immediately drawn to the exhibition at the Royal Scottish Academy in Edinburgh, housed within the National Gallery of Scotland, Dürer to Van Dyck: Drawings From Chatsworth House. The collection, featuring drawings by celebrated Northern European artists such as Dürer, Van Dyck, Rubens, and Rembrandt, promised a rare glimpse into art history. With a personal passion for art and a curiosity sparked by the techniques and processes used by these masters, I eagerly set out to experience this extraordinary display.
Historical Context.
The Devonshire Collections were primarily assembled in the early 18th century by the 2nd Duke of Devonshire, creating one of the most significant private collections of drawings in the world. Today, these works are expertly cared for by the Chatsworth House Trust. Typically kept in dark, climate-controlled spaces to protect them from light and environmental damage, these delicate pieces are only brought out for carefully timed exhibitions. This visit was particularly special, as nearly all of the collection, apart from two pieces, were on display in Scotland for the very first time.
The Exhibition Experience.
The venue itself, set within the Royal Scottish Academy building at the National Gallery of Scotland, provided the perfect backdrop for such a sensitive and rare collection. The exhibition was meticulously curated, with controlled lighting and carefully maintained environmental conditions ensuring that every piece could be viewed at its best while still preserving its integrity. Walking through the gallery, I was struck by the juxtaposition of historical significance and the palpable tension between preservation and display. It felt like a constant reminder that while art should be enjoyed and shared, it must also be preserved and documented for future generations. Life is fluid, and everything will eventually return to the earth, so we must savour these moments without causing unnecessary harm.
Exploring Artistic Techniques and Processes.
One of the most fascinating aspects of the exhibition was learning about the techniques used by these notable artists. For instance, Rembrandt’s creative process resonated deeply with me. I learned that during his walks around Amsterdam and along the Amstel, he would quickly sketch scenes he encountered - much like the spontaneous shots I capture with my camera - and later develop these into more elaborate pieces in his studio.
In addition, many of the artworks employed techniques that both paralleled and diverged from my own creative methods. The use of opaque white paint for highlights, the layering of different types and colours of paper, and the mixing of brown and black inks were all techniques that caught my attention. I was particularly intrigued by the frequent use of brown washes as a foundational layer before the main work was added. While I have experimented with black ink washes in my pieces, brown ink remains an area I’m eager to explore further, especially after witnessing its effect on these pieces.
It was also fascinating to learn about the everyday work life of some of these artists. Many worked in studios surrounded by apprentices who assisted in creating their paintings. During their travels, they collected and purchased pieces from other artists to add to their “raw materials” selection - sometimes even painting over them or expanding upon them as they saw fit. There were collections of “heads,” sketched figures used as a bank of images for various scenes. Behind the curtain, these artists operated like a well-oiled production machine, a testament to the enduring legacy of their creative process.
Personal Reflections.
Seeing these processes and materials first-hand was both an educational and inspirational experience. The way these artists balanced spontaneity with meticulous detail reminded me of my own creative journey - even if my camera has replaced the traditional sketch pad. The exhibition not only deepened my appreciation for the technical mastery of these artists but also encouraged me to experiment with new techniques in my own work. I left the gallery with fresh ideas and a renewed commitment to push the boundaries of my creative practice, especially as I prepare for the interim exhibition at Central Saint Martins in March.
the Collector’s Mark.
Another intriguing detail was the personal touch left by one of the collection’s original assemblers—a signature stamp in the bottom corner of many pieces. This act of marking the work as his own is reminiscent of the red seals described in Chinese brush painting. Such marks serve as a tangible connection to the history of the collection, adding layers of meaning and personal narrative to each piece. That said, I still find it hard to wrap my head around the idea of wanting to add your own mark to a piece created by someone else, but the more I learn about this practice, the more apparent it seems to be in all walks of life.
In addition to the intentional marks left by collectors, I was fascinated by the subtle, unintentional imprints on some of the pieces. One drawing even bore the crease of having been folded - almost as if it had been tucked away in someone's pocket - while others showed slight wrinkles along the top of the paper. These small imperfections don't detract from the art; instead, they serve as quiet witnesses to the journey each piece has taken. They hint at the countless hands through which the work has passed and the untold stories that have become part of its legacy.
Conclusion.
Reflecting on my visit, I can say that this exhibition has definitely left an impression on me and sparked new ideas for techniques I might incorporate into my work. I have always had a love for history and the stories that shape us, so delving into the lives and methods of these artists offered a unique opportunity to experience their art from a fresh perspective. If only the exhibition had lasted a bit longer - I would have loved to spend more time absorbing each piece and its story. For now, I carry with me not only the memory of a rare glimpse into art history but also a renewed sense of inspiration to explore and experiment with my own creative practice.
