PROFESSOR CHRISTIANA PAYNE
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Trees IN 19th-century British art

The role of trees in British landscape painting, 1760-1870

A Walk in the Woods: OPENING SOON!

9/26/2017

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The exhibition at the Higgins Bedford is nearly installed now, ready for the private view this Thursday (it opens to the public on September 30th). My co-curator Victoria Partridge had the brilliant idea of using dark brown walls and internal free-standing walls to make visitors feel that they are actually walking through a shady wood. The display really shows off the beautiful wooden floor and benches, too. 
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    For the last five years, I have been engaged in research for a book on trees in British art, asking questions, such as: how does the interest in trees develop, how do ideas change over the 18th and 19th centuries? I've been looking at drawing manuals, illustrated books on trees, oil paintings, watercolours and prints, landscape gardening, poetry, artists' writings. The artists I'm particularly interested in include the following: Paul Sandby, Thomas Hearne, John Constable, Samuel Palmer, James Ward, John Martin, Edward Lear, Francis Danby, Jacob George Strutt and Henry William Burgess.

    The book has now been published by Sansom and Company and its title is "Silent Witnesses: Trees in British Art, 1760-1870".

    My next research project is taking a look across the Atlantic and at the role of trees in American painting of c. 1800-1870. I'm getting to know new trees - hemlocks, red oaks, white pines - and new artists - Thomas Cole, Asher Brown Durand, Frederic Church, Worthington Whittredge, William Trost Richards. 

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