Painting legacies

The Heritage team is exploring a range of projects designed to reveal hidden stories within the collections. The first stage of this ‘Connecting Histories’ series is set to explore and promote women in surgery. The programme will include new research, oral history interviews, contemporary collecting, a temporary exhibition, renewed permanent displays in the Museums’ galleries and a commissioned artwork. 

The Heritage Collections reflect more than 500 years of the College’s existence, remarkably recording the extraordinary contribution its Fellows have made to the development of surgery worldwide. Surgery has historically (and, to some extent, remains) a male-dominated field of medicine, with women successfully entering the medical profession from the late 19th century and taking a foothold in surgery in the early 20th century. Due to this relatively modern history, the collections do not accurately reflect what a surgeon looks like today. Nowhere is this more evident than in the art collections. Out of hundreds of portraits that don our College walls, only three are of women, with little representation of diverse ethnicity. This commission and future projects aim to change this to ensure all are represented in our collections and displays. 

Last June, the Museums reached out to Scottish-trained female artists with a commission brief to create a large artwork representing women in surgery. To ensure that the past, present and future of women in surgery were celebrated, the brief asked the artists to focus on the Hunter Doig Medal. This medal was awarded every second year (now annually) to a female Fellow or Member of the College to recognise excellence within the female membership. The commissioned artwork will capture 11 surgeons, featuring both the namesakes and recipients of this unique award. 

The medal is named after two female surgeons, both of whom achieved something no woman had before. Alice Mabel Headwards Hunter was the first woman to become a Fellow in 1920. Caroline Doig became the first woman elected to Council in 1984. The medal has been awarded to nine surgeons since Julie Brittenden became the first recipient in 2007. Last year, Beatrix Elsberger was announced as the most recent recipient. 

After receiving exceptional proposals, the Museums, with the support of Office Bearers, selected Kirstin Mackinnon to create the piece. In addition to her strong composition proposal, Mackinnon’s own research into gender imbalance in the art sector showed her understanding of the issues facing women in the surgical field and enabled her to bring a foresight to the importance of the piece and the representation of women in the collections. Here, she tells us more.

What attracted you to this commission?

KM: When the Women in Surgery project was brought to my attention, I was immediately interested to learn more about gender equality in the surgical field. Having spent the previous four years studying art world gender equality, I found the commission brief compelling as I felt it aligned with my existing work.

Your paintings aim to encourage the viewer to question how different genders are viewed, represented and portrayed in art. Can you talk us through your concept for the commission and if this applies to your chosen composition for this work?

My concept for the commission aimed to fulfil the key requirements of the brief, which was to capture the past, present, and future of women in surgery. It demanded a sensitive portrayal of the namesakes of the Hunter Doig Medal, as well as all nine award recipients to date. I chose to portray the namesakes as ‘paintings’ hanging above the sitters. This reflects the past and asserts their position as historic role models for the present surgeons to look up to. Another reason for this compositional choice is to highlight the importance of representation within institutional settings. My artwork responds to unequal gender representation in museums and galleries, where women are far more likely to be the subject of a painting than the artist. Similarly, surgical students of all genders, ethnicities and backgrounds deserve access to role models that they can identify with. Otherwise, the subliminal message they receive (when mostly surrounded by portraits of white, male surgeons) is that they cannot achieve within the surgical field. 

There are two objects in the painting depicting men. One of these is a bust of William Harvey, an English physician and anatomist who first described the blood circulation system in 1628. I chose to include this sculpture as a reference to the male-dominated history of medical science. The other male presence depicted is an internally illuminated plastic cadaver, which is used as a visual aid in a teaching presentation. Including this in the foreground of the painting is one of my favourite elements of the composition. I like the idea that the only prominent representation of a man is this light-up dummy on the ‘operating table’. This concept appealed to me because, historically, a teaching room like this would be full of men, and the only possibility for a woman to be present would be if she were the cadaver being examined. In flipping the power dynamic, I am presenting the women depicted as strong, capable and worthy of their place at the table. I chose an educational space as the setting for the composition, alluding to the promise of future students and surgeons who may continue to push boundaries within the surgical field. 

Part of the commission brief was to complement the traditional aspects of the College’s art collection. How did you find a balance between originality and tradition in this artwork?

I knew I would have to produce a more polished-looking painting, without necessarily having the same level of expressive freedom with brushwork that I would have in the paintings I make for myself. However, I saw this as an opportunity to indulge in painting in a realistic, traditional way, without having to hold myself back from adding a few extra details. I settled on a large-scale composition because I wanted to make a showstopper piece that would do justice to each of the sitters. Since just three out of 144 paintings in the current collection depict women, I thought the fourth should be monumental. I chose to use traditional materials, oil on canvas, to ensure the painting aligns with the current collection. As for the representation of the sitters, I asked each of them to choose whether to be painted in their hard-earned gowns, or in their working scrubs. I believe the balance between sitters depicted in scrubs and gowns creates an interesting visual mix of traditional and modern. This choice also respects the individuality of each sitter, which is an important consideration in group portraiture. I believe my compositional choices were important contributors to the originality and artistic expression of this piece, while traditional painting techniques ensured the painting would complement the existing collection.

Your studies explore gender imbalances in art, can you tell us a little more about your research?

I was fortunate to study Fine Art under Dr Helen Gorrill at Duncan of Jordanstone College of Art. She wrote the 2020 book Women Can’t Paint in response to a claim by the artist Georg Baselitz, who said: “Women don’t paint very well. It’s a fact.”

In her writing, Gorrill demonstrates that the art market and many art institutions still favour men, who currently earn 10-times more than women artists. Shockingly, Gorrill discovered that when a woman signs her painting, its value drops! Historically, women were excluded from art education and life drawing classes were considered immoral for women to attend. Women who did paint were often dismissed as ‘hobbyists’ because the notion of ‘artistic genius’ (particularly for painting) was reserved for men. Current literature suggests that painting is still considered a masculine medium.

I believe the art world should act as a mirror for modern society. Therefore, public representation of artists should adequately reflect the population’s demographics. Artists of all genders, ethnicities and other protected characteristics deserve a platform for sharing their work. For this reason, I am grateful to the Museums for seeking to commission an artist who also represents diversity in painting.

Considering this clear gender imbalance and, of course, the challenges facing a young artist starting out in the sector, where do you find inspiration and strength?

Resilience is crucial for artists as many people may not appreciate your work and rejection is an inevitable part of the journey. I am an open, positive person. I like to throw my hat in the ring, hope for the best and accept the outcome, good or bad. I think all you can do is learn from others, observe your environment and respond honestly through your artwork. Although there are still obstacles to true inclusivity and equal value in art, there have been many positive shifts to address the imbalance, especially in Scotland. I am grateful to have met many inspirational people. My former art tutors, mentors, friends and family offer a constant stream of support and encouragement. I am equally inspired by my sitters, and that is especially true for this commission. I am fascinated by the lived experiences of these incredible women, who are all trailblazers in the surgical profession. 

The commission brief included representations of the Hunter Doig namesakes – is it difficult to capture someone you haven’t met and how did you overcome this? 

This was something of a concern for me because my preference is to work (at least partly) from life, which allows me the opportunity to chat with my sitter and get to know them a bit. It would have been wonderful to meet them but, since this wasn’t possible, I learned of their extraordinary lives and contributions to surgery by reading what I could about them. The Curator provided me with photographs of the namesakes and a video clip of Caroline Doig, which was extremely helpful. The biggest challenge I faced when considering the composition was how to successfully incorporate Alice Hunter into the painting, because there was only one black-and-white image available to use as a reference. I think the decision to portray the namesakes as if they were paintings hanging above the sitters worked well for this reason. Because Caroline Doig declined a formal portrait in oils, I included the official photograph of her as part of the composition, rather than painting her into the scene, to be respectful of her wishes.

You have now met each of the nine sitters, what have you taken away from these sittings with the surgeons?

It was lovely to meet each of the nine award recipients to sketch them and familiarise myself with their individual characteristics. I believe you can learn a lot about someone in very little time, especially when they are sitting for a portrait. All the surgeons I met seemed very humble to me, especially considering the lifesaving work they undertake daily. Many also seemed surprised to be asked to have their portrait painted, but I can’t think of many people who would be more deserving. I am honoured to have had the opportunity to meet with these incredibly hard-working surgeons, to celebrate their achievements, and honour their stories in the commissioned painting. 

Do you see any similarities between art and surgery?

Absolutely, I think surgery could be seen as an artform. As a teenager, I briefly considered becoming a tattoo artist. I practised tattooing false skins, and I was doing quite well with it until someone suggested I tattoo a real person. I cannot imagine the pressure of performing a surgical procedure, where precision and accuracy are essential to your patient’s health and wellbeing. Like artists, surgeons must have a very steady hand (and an even steadier nerve). I imagine the patience, self-belief and perseverance required to work as a surgeon must mean surgeons have a level of gritty determination akin to that of the struggling artist. To me, both surgery and art are expressions of humanity, which could not be practised successfully without love and dedication. 

What part of the creative process do you find the most satisfying? 

There are many creative decisions to make regarding the composition, colour and subject matter of a painting. Yet I find the moment when I have just managed to capture the likeness of my sitter to be the most satisfying part of the whole process. Sometimes, I feel like I have been painting all day and made little or no progress, so it can be satisfying to compare photographs to see how far the painting has come. 

What do you hope the impact of the commission will be?

I sincerely hope that this commission, especially within the context of the exhibition, can change peoples’ attitudes towards women in surgery. Anyone who believes surgery to be a masculine profession has yet to meet these women! I hope each of the sitters will look at the painting and feel seen, empowered and proud of their achievements. Their success gives hope to the next generation of surgeons, that the profession can become more inclusive, and be stronger for it. Every step taken towards greater inclusivity and equality has ripple effects. I welcome the conversations that this commission may bring. 

Last year was a busy one for you – you gained your postgraduate degree, and your work was featured in the Royal Scottish Academy New Contemporaries exhibition and Sky Arts Portrait Artist of the Year. What lies ahead for the rest of 2025?

I am delighted with the opportunities I have had over the past couple of years. Going forward, I aim to build on these experiences and take more time to explore. This year, I was a featured artist at the Glasgow Art Club for the month of February. I am grateful to have been commissioned to paint several portraits after the success of last year. However, I will also ensure I have time to create a new body of work for myself. As part of my residency with Tighnabruaich Gallery, I will have the opportunity to prepare for a solo show in 2026/2027. Aside from painting, I will spend some time travelling this year and stay open to new possibilities and opportunities. 

Mackinnon’s finished artwork will be unveiled to the public in the Museums’ temporary exhibition on 5 April. 

The commission is being funded by generous grants from Art Fund and The National Fund for Acquisitions. In addition, donations are sought from the College’s community and heritage supporters to help bring this historically significant artwork to life and share this important moment in the College’s history.