Background of the Commission
The commission for this painting arose during a conversation with Juan Davila, the President of the British San Martín Institute, as we discussed a recent event he organized in collaboration with members of the Argentinian Embassy. The event was set to commemorate the bicentennial of General José de San Martín’s visit to Banff, Scotland, where he spent time with his close friend, James Duff, the 4th Earl of Fife. During this discussion, I realized that there was no existing artwork celebrating the deep friendship between these two historical figures.
Driven by my passion for immortalizing significant historical events and with Davila’s enthusiastic support, I proposed to create and donate a painting that would encapsulate this unique bond. The painting is intended to be displayed at Duff House, symbolizing the enduring connection between Argentina and Scotland.
The Historical Significance of General José de San Martín in Scotland
General José de San Martín is a monumental figure in the history of Latin America, having played a pivotal role in the independence movements of Argentina, Chile, and Peru. His military brilliance was showcased in the daring crossing of the Andes, leading to the liberation of Chile, and later in the successful campaign for Peru’s independence in 1821. San Martín’s legacy is deeply intertwined with the fight for freedom across the continent, making him a revered hero in South American history.
Honorary Recognition by Scotland and Friendship with the 4th Earl of Fife, James Duff
San Martín’s connection to Scotland transcends mere diplomacy; it was deeply personal. He developed a close friendship with James Duff, the 4th Earl of Fife, during their military service together in the Peninsular Wars in Spain. Their shared experiences on the battlefield forged a lifelong bond, characterized by mutual respect and admiration.
In 1824, after retiring from his military and political career in South America, San Martín visited Duff House in Banffshire, Scotland. This visit was marked by the conferment of the Freedom of the Burgh of Banff upon San Martín, a gesture that recognized his global contributions to freedom and celebrated the strong bond between him and the Earl of Fife. These events underscore not only San Martín’s monumental role in the fight for independence but also the lasting international relationships he cultivated, which were rooted in shared ideals of liberty and justice.
Artistic Research and Challenges
Creating a historically accurate and meaningful portrayal required extensive research. I delved into historical records, including those detailing clothing styles and the likely settings where San Martín and Duff might have spent time together. Duff House, with its rich art collection and well-kept gardens, provided an ideal setting. I ultimately chose an interior scene near a window, offering a glimpse of the Scottish landscape outside, to blend the intimacy of their friendship with the grandeur of their surroundings.
Symbolism Behind the Composition
In crafting this painting, I envisioned San Martín and Duff not as military men but as statesmen, dressed in civilian attire to emphasize the peaceful and reflective nature of their relationship. The Freeman of the City of Banff certificate is symbolized in San Martín’s hand, representing the recognition of his actions that resonated far beyond his homeland.
The two friends are depicted looking directly into each other’s eyes, a gesture that conveys trust and the depth of their friendship. I included a milk thistle near the window on the Earl’s side, symbolizing Scotland and James Duff’s deep love for his land, reflecting his work as an MP dedicated to the welfare of his people.
Ensuring a Realistic Portrayal
To achieve a realistic depiction or likeness of San Martín, I began with the well-known daguerreotype of him and used artistic imagination, supplemented by various existing paintings around that time, to create a younger version of his face. For James Duff, I referred to existing portraits from around 1824, adjusting his appearance to reflect the era’s style and his maturity at the time. The challenge was to translate a 3/4 view into a frontal depiction while adding a beard, aiming for an authentic and lifelike result as from a stipple engraving plate at the National Portrait Gallery, London.
