The Parting of Robert Burns and Highland Mary 

Editor: Here we have "The Parting of Robert Burns and Highland Mary," an oil painting by James Archer. It’s a really sweet scene, almost theatrical in its staging. What catches your eye when you look at this? Curator: I immediately consider the materiality of this painting. Notice the contrasting textures: the coarse wool of the shawls, her simple linen blouse, and his tailored coat. What do these materials tell us about their social positions, their access to resources? Editor: So, you’re thinking about what their clothes are made of, as markers of class? Curator: Exactly. Archer uses the tangible properties of these textiles to depict a divide. Look closer – how would the rough feel of the shawls compare to her bare feet on the ground? It adds to the sense of a harsh, unforgiving world outside their embrace. Are we to assume she is from a lower social stratum than he is? Editor: It seems likely. The red skirt, a kind of uniform... How was Archer thinking about clothing's role in expressing someone's position within society? Curator: That's a great question! This was painted at a time when notions of Scottish identity and folklore were being commodified and sold. So the materials Archer depicts—the tartans, the simple fabrics—become potent symbols within a developing national and economic narrative. Are they props, so to speak? Consider the labor involved in producing these materials. How does that inform our understanding of the work? Editor: It's interesting to think about that in terms of labor. Suddenly it’s not just a pretty picture; it's connected to a whole system of making and selling. Thank you! Curator: And thank you for pushing me to consider Archer's strategic use of these signifiers within the context of the art market.