Archive for category Author: Christiana Payne
One of the first things you notice from a cursory glance at this is that the painting of trees has gained a lot more life in recent years. Maybe it’s the speed of travel and the reduction in afforestation, but a modern painting will show the tree as much more heroic than many historical examples. Today, we travel at 70 miles an hour on open roads, with trees as part of a distant view or flashing by. This is a far cry from the days when the fastest thing around was a galloping horse and many thoroughfares were little more than tracks, with trees often towering over them. Then, trees obscured the light, harboured footpads and wild animals, as well as impeding the way. They were things to fear rather than love.
It’s quickly apparent that, in the period covered by this really rather magnificent book, tree drawings and paintings fall broadly into three camps: the detailed, almost botanical study, gloomy clearings, or incidental growths whose precise species is not always apparent. Trees were so commonplace that an artist would assume that all their viewers knew what they were looking at without being told in any detail.
This doesn’t mean that trees were unremarked – as the illustrations here make amply clear – or unrevered. Writing in 1792, William Gilpin observed that a tree was “the grandest, and most beautiful of all the productions of the earth” and John Ruskin asserted that “if you can paint one leaf, you can paint the world”. And, of course, trees have been seats of learning, points of devotion, meeting places and waymarkers since the dawn of time.
This book accompanies the exhibition A Walk In The Woods at the Higgins Bedford and the launch of the Woodland Trust’s Charter For Trees which celebrates the 800th anniversary of the Forest Charter (effectively, the commoners’ Magna Carta). Christiana Payne includes history, folklore and art as well as looking at the role of trees in the country-house culture of the time and issues relating the felling of trees to provide timber for navy ships. It all makes for a fascinating and complete study.
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This is the catalogue of an exhibition at the Royal West of England Academy. However, it also stands alone and contains much useful background material that covers the history of maritime painting as well as the practical aspects of painting such subjects, what the sea means to those who commit themselves to it and even a discourse on the structure of waves.
The main meat of it is the catalogue, though, which is an excellent and representative selection of paintings that include works by Constable and Turner as well as Francis Danby, Walter Langley and John Piper from the nineteenth and twentieth centuries and Kurt Jackson and Terry Setch from the contemporary section. The division into those two sections is unusual, and does rather place the emphasis on the last fourteen years, but I don’t think this detracts from the book. The exhibition, of course, flows as it does.
All of the entries are chronological, so it is possible to see styles and movements develop in front of you and there are handy label descriptions of each painting that introduce both the piece and its artist.
This is not, nor does it attempt to be, an exhaustive survey, but the entries are well-chosen and representative of the times and places they stand for. As an overview of the history of British maritime painting, it’s hard to beat.
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