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Class 7 Green and Pleasant Land

The English have long held a sentimental view of their Green and natural surroundings, apparently as old as time, but in fact changing even as spoke of "'s green Pleasant Land and pleasant land." Wordsworth looked to almost as a moral guide; Constable painted it in loving detail; Turner transformed it through his own mental sorcery. A survey of English attitudes to over the “long ” offers a context for both High and the small-r romanticisms that preceded and followed it.

Prelude: Jerusalem William Blake’s hymn of 1804 and its 1916 setting by Sir Hubert Parry, as illustrative of attitudes to the English landscape. Constable: Willy Lott's House (1818, Oxford, Ashmolean)  Blake: Jerusalem (1804; Parry setting 1916) Loutherbourg: Coalbrookdale by Night (1801, London, Sci. Mus.)

A. The Moral Landscape The belief that the natural landscape might hold some moral lesson, either in its own right, or by reflecting the work of the Creator.  Wordsworth: , read by Keith Hanley Havell: (1804, Oxford, Ashmolean)  Wordsworth: Tintern Abbey, read by Tom O’Bedlam  Coleridge: , read by Richard Burton Palmer: After the Service and A Hilly Scene (c.1830, London Tate) Palmer: Garden in Shoreham and The Magic Apple Tree October 27, 2020 B. The Present Landscape Turner: Dewy Morning (1810, Petworth House) Turner: The Lake, Petworth, Sunset (oil, c.1829, London Tate) as the painter of the here and now: familiar places around his childhood home, and close observation of the weather, Turner: The Lake, Petworth, Sunset (watercolor, 1828, London Tate) clouds, and a particular time of day. Turner: Interiors at Petworth Turner: Snow Storm: Steam-Boat off Harbor Mouth(c.1842, Tate) Constable: Salisbury Cathedral (1823, NY Frick) Turner: Rain, Steam and Speed (c.1844, London NG) Constable: Salisbury Cathedral (1831, London Tate) Turner: The Fighting Temeraire (1838, London NG) Constable: Weymouth Beach (1816, London V&A) Claude: Landscape with Hagar and the Angel (1646, London NG) Constable: Dedham Vale (1802, London V&A) E. The Nostalgic Landscape Constable: The Vale of Dedham (1828, Edinburgh NG) The decline of British landscape painting in the later 19th century, set Constable: Boat-building near FlatfordMill (1815, London V&A) against the musical renaissance that began with the folk song revival Constable: The Hay Wain (1821, London NG) around 1900. Constable: The White Horse (1819, NY Frick) Cole, Parker, and Waite:  Bennett: Symphony #5 (1836), opening, with Constable sketches Grainger: Brigg Fair (opening) Delius: Brigg Fair (with internal cuts) C. The Lived Landscape Bevan: Haze over the Valley (1913, London Tate) The of , who grew up as an agricultural laborer, and Full Names and Dates of Artists, Composers, and : the art of George Robert Lewis, who painted them. William Sterndale Bennett (1816–75), Robert Bevan (1865– Clare: The Peasant 1925), William Blake (1757–1827), (1844– Lewis: Harvest in Herefordshire (1816, London Tate) 1930), John Clare (1793–1864), Claude Lorrain (1604–82),  Clare: The Wren, read by Simon Loekle George Vicat Cole (1833–93),  Clare: “I am,” read by Tom O’Bedlam (1772–1834), John Constable (1776–1837), Frederick Delius (1862–1934), Percy Grainger (1882–1961), William Havell D. The Sensory Landscape (1782–1857), Gustav Holst (1874–1934), George Robert The painting of JMW Turner, who developed his early interest in the Lewis (1782–1871), Philip de Loutherbourg (1740–1812), into a unique type of painting that prioritizes the artist’s Jacob More (1740–93), (1805–81), Henry sensations over visual fidelity. Parker (1858–1930), Sir Hubert Parry (1848–1918), Joseph More: Corra Linn (1771, Edinburgh NGS) Mallord William Turner (1775–1851), Ralph Vaughan Turner: Drawing of the Clyde (1806, London Tate) Williams (1872–1958), Edward Wilkins Waite (1854–1924), Turner: The Falls of Clyde (1801, Edinburgh NGS) William Wordsworth (1770–1850) Turner: The Falls of Clyde (1845, Port Sunlight, Lever Gallery) http://www.brunyate.com/romanticmind/ [email protected]