Don MacRaild

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Don MacRaild

Don MacRaild

@DMMacRaild

Historian • Professor • LMU • Hon. positions at @HCAatEdinburgh • @UUHistory | Art lover & amateur dabbler | #FirstGen | OA book: https://t.co/RdyuwyY9oX

London • Egremont • Konstanz Katılım Haziran 2012
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Don MacRaild retweetledi
The Pennine Painter
The Pennine Painter@PennineThe·
‘Out on Monday with a View of Stoodley Pike’, from 2000, is one of Peter Brook’s best known later works. The eye is drawn to the prominent hilltop monument, silhouetted against the setting sun, while the easy-to-miss line of washing lower down links to the title of the painting.
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The Pennine Painter
The Pennine Painter@PennineThe·
With warm weather forecast for the next few days here’s Peter Brook’s ‘A Hot Spring’. The low light is indicative of an evening scene, while the palette, very different from that seen in his winter work, suggests the heat of the day lingers on. (Exhibited @ACArtGallery in 2021)
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The Pennine Painter
The Pennine Painter@PennineThe·
‘Right by the M62 in the Pennines - Thinking about a 17th Century Farmhouse with a 21st Century Roof - Eddie Stobart Heading West Passing the Little House on the Prairie’ is a classic Peter Brook title, referring to the farmhouse now famously ‘stranded’ between the carriageways.
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David Gleeson
David Gleeson@dgleesonhistory·
Best book on Ribbonmen is by @DMMacRaild and Kyle Hughes. Available here. liverpooluniversitypress.co.uk/doi/book/10.38…
BUCHANAN: Dublin Time Machine@RobLooseCannon

The Ribbonmen were a secret society of 19th century poor Catholics in Ireland. Their movement Ribbonism was borne of desperation caused by the grinding poverty and oppression endured by tenant farmers and labourers. It was also a counterweight to the Protestant Orange Order. They were the spiritual and socio-economic heirs of earlier agrarian movements like the Whiteboys of the 1760s and the Defenders of the late 18th century. When the 1798 Rebellion collapsed fragments of the Defender network survived underground. These remnants evolved into Ribbon lodges, carrying forward the tradition of secret resistance. The name came from the simple symbol of membership, a green ribbon worn discreetly in cap or lapel. Ribbonism thrived in Ulster, north Leinster and Connacht, regions where sectarian violence and agrarian grievance ran side by side. Above all, Ribbonmen were the mobilisation of the peasant poor to protect tenants from arbitrary eviction, resist rack-rents imposed by absentee landlords, and strike back at tithe collectors who forced Catholics to support the Protestant Church of Ireland. Their justice was violent and uncompromising. It frequently involved barn burning, cattle maiming and the dreaded “intimidation letters” arrived bearing drawings of coffins or pistols. Ribbonism was also a form of protection and opposition to the Orange Order, which by the early 19th century staged provocative parades through Catholic districts and policed Protestant ascendancy in Ulster. Ribbonmen and Orangemen clashed repeatedly, their battles filling the summer calendar of fairs, processions, and public holidays with violence. In these confrontations, Catholic nationalism and rural resistance fused, turning local grievance into a wider political identity. Ribbon lodges resembled Orange lodges in structure, often meeting in the backrooms of public houses. They provided solidarity in a society that denied Catholics both land rights and political voice. Their main method was clandestine intimidiation and they cenertainly earned their fearsome reputation fearsome. Threatening letters were first delivered by night, warning landlords, agents, or “land grabbers” not to cross Ribbon law. If that didnt work, next came violence. Nocturnal raids, shots fired through windows, barns and hayricks set aflame. Punishments like “carding”, basically dragging a victim across a spiked plank were reserved for informers. By the mid-19th century, Ribbonism was waning. The Great Famine tore apart the social fabric of rural Ireland, scattering the networks of the poor and decimating the communities from which Ribbon lodges drew their strength. In 1871, the movement was declared illegal, though by then its influence had already ebbed. New movements had risen to take its place, the Fenian Brotherhood abroad, and constitutional nationalism at home. Buy the Dublin Time Machine a pint and support the DTM Book ko-fi.com/buchanandublin…

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Don MacRaild retweetledi
The Pennine Painter
The Pennine Painter@PennineThe·
Peter Brook’s early social realist work can be surprisingly hard hitting. In ‘Father Returning Unsteadily for a late Sunday Dinner’ there’s no hint of nostalgia as the inebriated figure staggers down the road while a little girl waits with her doll. (For sale at Carnes Fine Art)
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Don MacRaild retweetledi
Brian Groom
Brian Groom@GroomB·
Road to Caolas, Outer Hebrides, 2023, painting by Dale Bissland, Scottish artist.
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Don MacRaild retweetledi
The Pennine Painter
The Pennine Painter@PennineThe·
Underlying much of Peter Brook’s work was his belief that the ordinary was interesting. In ‘Making a Careful Drawing of that Group of Trees by the Gateposts and it’s Quite Cold’ he draws our attention to the location of what could be considered an unremarkable landscape feature.
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Don MacRaild retweetledi
The Pennine Painter
The Pennine Painter@PennineThe·
‘A Lane to an Empty Farm’ is a classic Peter Brook composition, the road with its tyre tracks in the snow and flanking walls and telegraph poles leading the eye past the abandoned building to the distant hillside with its distinctive field pattern just visible through the mist.
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The Pennine Painter
The Pennine Painter@PennineThe·
Brontë country was one of Peter Brook’s favourite subjects on account of both its rugged landscape and famous literary connections. In ‘On the Way to Wuthering Heights with the Sun in my Eyes’ the play of light upon the snow adds a further dimension. (Calderdale Museums Service)
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The Pennine Painter
The Pennine Painter@PennineThe·
‘Looking at Silence’ is one of Peter Brook’s more serious paintings. With no hint of humour it portrays the artist’s personal response to the solitude of a remote Pennine valley in winter with mist enveloping the landscape and creating a sense of isolation and other-worldliness.
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Don MacRaild retweetledi
The Pennine Painter
The Pennine Painter@PennineThe·
‘Hannah Hauxwell - A Quiet Moment - Before setting off for the Palace, 1980’, to attend a royal garden party, is very different from Peter Brook’s paintings of the harsh winters endured by the lone farmer at the remote Low Birk Hatt in Baldersdale. (Sold @Wilson55Auction in 2023)
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The Pennine Painter
The Pennine Painter@PennineThe·
Peter Brook’s ‘Pennine Way - Evening Light’ portrays one of those stretches of monotonous moorland over which much of the long distance footpath passes, but he brings the painting to life with one of his trademark sunsets and six inquisitive sheep. (Sold @Wilson55Auction in 2020)
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The Pennine Painter
The Pennine Painter@PennineThe·
Happy Easter! ‘April in England’, clearly at lambing time, is one of a series of early Peter Brook paintings of Troutbeck in the Lake District. Although similar in subject to his later work, the Cumbrian mountains provide a backdrop very different to his usual Pennine landscapes.
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The Pennine Painter
The Pennine Painter@PennineThe·
With Storm Dave about to batter the North of England this evening here’s Peter Brook’s ‘April - Shower - With a Wandering Sheep’, a perfectly observed portrayal of very wet and windy weather, with no sign of life save for the usual lone ewe, easy to miss by the side of the road.
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The Pennine Painter
The Pennine Painter@PennineThe·
Peter Brook is well known for his abandoned Pennine farmhouses. In ‘Something About - Good Friday’, in spite of its ruinous condition, the building dominates the painting and with its stone-mullioned windows was clearly once of some importance. (Sold @ContemporarySix last year)
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The Pennine Painter
The Pennine Painter@PennineThe·
The title was always an integral part of Peter Brook’s work. In ‘Hey Up! - An Early Morning Jet Plane - Arriving in Manchester - And an Early Lamb in Bacup’ it draws attention to the faint vapour trail in the sky and the new-born lamb, both of which might otherwise be missed.
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Don MacRaild retweetledi
The Pennine Painter
The Pennine Painter@PennineThe·
Like all hill walkers in winter Peter Brook was acutely aware of dramatic changes in the weather, reflected in many of his paintings. In ‘Drawing Outside - And then Suddenly the Sun Came Out’ the snow on the farmhouse roof is brightly lit, while in the distance the mist persists.
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The Pennine Painter
The Pennine Painter@PennineThe·
Peter Brook frequently included signs and notices in his paintings, often portraying himself blatantly ignoring them. In ‘Thinking He’d Heard a Dog Bark’ he is seen with Shep on the ‘wrong’ side of the gate, having clearly disregarded the very obvious PRIVATE KEEP OUT warning.
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The Pennine Painter
The Pennine Painter@PennineThe·
In ‘Out with my Dog’, a typical late Peter Brook snow covered landscape, it is the stand of trees with its distinctive copper coloured highlights which catches the eye. He often portrayed trees in wintertime using one of his favourite wire brushes to achieve the desired effect.
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