Dr Caroline Rae
History of Art, University of Glasgow
Caroline’s research currently focuses on materials and techniques of paintings produced in Scotland in the Early Modern period.
She is examining a group of portraits attributed to John Scougall (1657-1737) in the Hunterian collection, a sub-section of which forms the topic of an ongoing MLitt student dissertation. Scougall and his father (David Scougall, c.1630-1685), dominated the field of portrait painting in Restoration Scotland, and their works have recently been reassessed by art historian Carla van de Putelaar. However, little technical research has been undertaken on portraits by either artist to date.
She is also writing up the results of her Caroline Villers research fellowship, on the topic of two Netherlandish émigré artists, Adrian Vanson and Adam de Colone, who lived and worked in Jacobean Scotland. She has co-curated an exhibition presenting the highlights of this research, particularly the discovery of an underlying portrait of Mary Queen of Scots, that is on display until January 2020 at the Scottish National Portrait Gallery.
Caroline joined the department in 2017. She holds an MA in Fine Art (joint honours in Art History and Painting) from the University of Edinburgh / Edinburgh College of Art, a Postgraduate Diploma in the Conservation of Easel Paintings, and a PhD in Technical Art History – both from the Courtauld Institute of Art.
Prior to joining the department, she was the Caroline Villers Research Fellow at the Courtauld (jointly with the National Galleries of Scotland), a member of the Making Art in Tudor Britain Research Team at the National Portrait Gallery (London), and a Visiting Scholar at the Yale Center for British Art.
Caroline’s recent research has focussed on issues of workshop practice, authorship and cross-cultural dialogue between native and émigré artists working in Scotland and England at the turn of the seventeenth century. She has published on a number of Tudor artists as well as on the materials and techniques of Henry Fuseli.
Caroline has undertaken practical conservation, technical analysis and condition checking for various studios, laboratories, galleries and collections in London and Edinburgh. She is passionate about using the techniques of technical art history to drive deeper insights into paintings and their contexts of production and consumption.