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The rise of watercolour painting in Britain was closely tied to a growing acceptance in 18th century Britain of 'landscape' as an appropriate subject for painting. In the 1620s one writer, Edward Norgate, noted that landscape was an art so new to England that he could not 'find it a name'.
A hundred years later a taste for landscape was encouraged by two established traditions, the Dutch and the Italianate. Dutch 17th century landscape painting recorded and celebrated the contemporary Dutch landscape. Italianate landscape painting was characterised by two 17th century French painters who worked in Italy, Claude Lorraine and Nicholas Poussin, whose paintings imagined a distant classical past. British aristocrats admired such classically inspired landscapes because of their associations with the Roman texts which formed part of their education.
The culmination of a young gentleman's education in the 18th century was the 'Grand Tour' of Europe, particularly of Italy, which often encouraged a taste for such landscape art. Claude's paintings particularly haunted the British imagination, their sun drenched views of Italy echoing the tourists' nostalgic memories of their youthful travels.
But paintings of the British landscape were another matter. In time the British would learn to look at their native landscape through the eyes of the poet and of the artist. But at first they saw it primarily through the eyes of the land owner, the antiquarian or the surveyor. In Britain the art of the landscape watercolour grew out of the prosaic tradition of topography - the portrait of a place.
A hundred years later a taste for landscape was encouraged by two established traditions, the Dutch and the Italianate. Dutch 17th century landscape painting recorded and celebrated the contemporary Dutch landscape. Italianate landscape painting was characterised by two 17th century French painters who worked in Italy, Claude Lorraine and Nicholas Poussin, whose paintings imagined a distant classical past. British aristocrats admired such classically inspired landscapes because of their associations with the Roman texts which formed part of their education.
The culmination of a young gentleman's education in the 18th century was the 'Grand Tour' of Europe, particularly of Italy, which often encouraged a taste for such landscape art. Claude's paintings particularly haunted the British imagination, their sun drenched views of Italy echoing the tourists' nostalgic memories of their youthful travels.
But paintings of the British landscape were another matter. In time the British would learn to look at their native landscape through the eyes of the poet and of the artist. But at first they saw it primarily through the eyes of the land owner, the antiquarian or the surveyor. In Britain the art of the landscape watercolour grew out of the prosaic tradition of topography - the portrait of a place.
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