Thursday, November 30, 2017 - 9:30am to Friday, December 1, 2017 - 6:00pm
The Building Centre
26 Store StreetLondon WC1E 7BT
The pictorial representation of the landscape has long played an important role in the history of British art. It has been central to writers from Gilpin and Ruskin onwards and was the subject of sustained scholarly attention in the 1980s and 1990s with the emergence of a social history of art. Writers such as John Barrell, Anne Bermingham, Stephen Daniels, Christiana Payne, Michael Rosenthal, and David Solkin not only helped transform interpretations of British landscape painting but made the study of such imagery seem essential to a proper understanding of British art itself.
Over the past two decades the center of gravity of British art studies has shifted. An imperial turn has characterized some of the most ambitious scholarship in the field; a raft of powerful new voices has shifted attention to the Victorian and modern periods, and to the imagery of urban life; and there has been a dramatic growth of interest in such topics as print culture, exhibition culture, and the material culture of the work of art. With these developments, existing approaches to the study of landscape pictures lost some of their urgency and relevance.
However, this same period has seen the growth of a broader interest in landscape images in adjacent disciplines, driven in part by political and environmental imperatives. A newly energized category of “nature writing,” associated with authors such as Robert Macfarlane and Helen MacDonald, has gained widespread currency beyond the purely academic arena. Cultural geographers like David Matless and filmmakers such as Patrick Keillor have offered nuanced investigations of the British landscape in their work, asking us to think afresh about its relationship to national identity, memory, and postimperial decline. And while many scholars in the humanities, in an age of globalization and deepening ecological concern, have felt compelled to think about landscape on a vastly expanded basis, others have been driven to offer a new and suggestive focus on the local.
The moment thus seems ripe for a major art-historical reassessment of the image of the British landscape, taking into account these and other emergent concerns. This international conference, the third in an annual series organized collaboratively by the Paul Mellon Centre; the Yale Center for British Art; and the Huntington Library, Art Collections, and Botanical Gardens, is designed to offer an opportunity for such a reassessment.
£20 : Concession Rate (Students & 60+) for Nov. 30 & Dec. 1
(ID is required on the day)
£35 : Standard Rate for Nov. 30 & Dec. 1
(Tickets are not being sold for individual days).
Preregistration is required
+44 020 7580 0311