Payne, Christiana, Silent witnesses , 2017
- Silent witnesses : trees in British art, 1760-1870 / Christiana Payne.
- Bristol : Sansom & Co, a publishing imprint of Redcliffe Press Ltd., 2017.
- Physical Description:
- 192 pages : chiefly illustrations (some color) ; 27 cm
- Reference LibraryNX650.T74 P39 2017 (LC)Accessible in the Reference Library [Hours]
Note: As a COVID-19 precaution, the Reference Library is closed until further notice. For scans from the reference collection please email email@example.com.Reference LibraryNAAccessible in the Reference Library [Hours]
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- Includes bibliographical references and index.
In the eighteenth and nineteenth centuries, naturalists, poets and artists were united in their love of trees. William Gilpin began his influential 'Remarks on Forest Scenery' (1791) with the bold statement that 'It is no exaggerated praise to call a tree the grandest, and most beautiful of all the productions of the earth.' Illustrated books and tree portraits celebrated the beauty, antiquity and diversity of individual, and particularly ancient specimens. A wide range of drawing manuals showed artists and amateurs how to express their 'character' and 'anatomy', as if they were human subjects. Paintings of woodland scenes provided welcome relief from city life, and studies of exotic trees reflected the growth of tourism and empire. The arrival of new species from all over the world aroused much excitement and scientific activity. At the same time, the native trees - oak, ash, beech, elm - acquired new resonance as emblems of the rural countryside. Many of Britain's most important landscape painters, including Paul Sandby, John Constable, Samuel Palmer, Edward Lear, and the Pre-Raphaelites, made themselves experts in the drawing and painting of trees.
- Subject Terms:
- Drawing, English -- 18th century.Drawing, English -- 19th century.Drawing, English.Painting, English -- 18th century.Painting, English -- 19th century.Painting, English.Trees in art.Trees in art.