Pap of Glencoe 1915 - 1929

Curator: This print is entitled "Pap of Glencoe," and it's an etching created by David Young Cameron sometime between 1915 and 1929. Editor: It has this imposing quality—the heavy blacks in contrast to the stark, etched whites really evoke a sense of drama and almost… foreboding. The peaks feel incredibly solid and immutable. Curator: Absolutely. I think it's impossible to look at Glencoe without acknowledging the history embedded in that landscape. Consider the Glencoe Massacre of 1692. That history of betrayal and violence haunts every vista. The darkness could reflect that past, shadowing the very ground we see. Editor: It's interesting that you bring up the material aspect—the 'ground.' Looking closely, Cameron uses the etching technique to convey the ruggedness and unforgiving nature of the Scottish Highlands. It's labor intensive; look at the precision, the care put into translating this imposing peak into something reproducible, marketable. Curator: It’s also about a Scottish cultural identity trying to cement itself as distinct amidst a landscape dominated by a powerful neighbour, England. And don't forget about the wider context of Scotland’s economic struggles, and the romanticizing of the Highlands. Editor: Yes! These images were a commodity to be consumed, a romantic vision distilled through skilled handiwork to become emblematic of Scotland. Look at that dramatic sky: nature’s power as crafted through industrial print processes. A very interesting collision. Curator: Ultimately, Cameron invites us to confront these mountains—literally and historically. To reflect on the intersection of place, memory, and national identity. Editor: Right. Considering the way these landscapes were made, circulated, and consumed encourages reflection upon larger political and material structures and how we interact with them through art.