Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 3-2-2017 A British Sentiment: Landscape Drawings and Watercolors 1750-1950 from the Collection of John Harbold Philip Earenfight Dickinson College Olivia Falcey Dickinson College Caroline Fallon Dickinson College Christopher Guy Dickinson College Xiaoqi Huang Dickinson College See next page for additional authors Follow this and additional works at: https://scholar.dickinson.edu/student_work Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Earenfight, Philip; Falcey, Olivia; Fallon, Caroline; Guy, Christopher; Huang, Xiaoqi; Hunkins, Taylor; Paulsen, Claire; Paull, Joelle; Tobash, Alexia; Weinstein, Sophie; Zyontz, Jackson; and Gallery, Trout, "A British Sentiment: Landscape Drawings and Watercolors 1750-1950 from the Collection of John Harbold" (2017). Student Scholarship & Creative Works By Year. 54. https://scholar.dickinson.edu/student_work/54 This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Philip Earenfight, Olivia Falcey, Caroline Fallon, Christopher Guy, Xiaoqi Huang, Taylor Hunkins, Claire Paulsen, Joelle Paull, Alexia Tobash, Sophie Weinstein, Jackson Zyontz, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: https://scholar.dickinson.edu/student_work/54 A British Sentiment Landscape Drawings and Watercolors 1750–1950 FROM THE COLLECTION OF JOHN HARBOLD A British Sentiment Landscape Drawings and Watercolors 1750–1950 FROM THE COLLECTION OF JOHN HARBOLD March 3 – April 15, 2017 Curated by: Olivia Falcey Caroline Fallon Christopher Guy Xiaoqi Huang Taylor Hunkins Claire Paulsen Joelle Paull Alexia Tobash Sophie Weinstein Jackson Zyontz THE TROUT GALLERY • Dickinson College • Carlisle, Pennsylvania G17-26985_British Watercolor Catalogue_Text.indd 1 2/22/17 3:19 PM This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. Published by The Trout Gallery Dickinson College Carlisle, Pennsylvania 17013 Copyright © 2017 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without written permission from The Trout Gallery. Design: Amanda DeLorenzo and Neil Mills Dickinson College Design Services Printing: Brilliant Printing, Exton, Pennsylvania ISBN 978-0-9861263-2-1 Cover: William Leighton Leitch, A Castle by a River, n.d., watercolor on paper, private collection (cat. 39). Title page: (Top) John Wilson Carmichael, Holy Island, n.d., graphite and sepia wash on paper (cat. 18). (Bottom) Robert Taylor Pritchett, FSA, Veblungsnes, Norway, n.d., graphite and watercolor on tan paper (cat. 50). Frontispiece: Rev. James Bourne, Rocky Path in a Wooded Valley, n.d., graphite and watercolor on paper (cat. 10). G17-26985_British Watercolor Catalogue_Text.indd 2 2/22/17 3:19 PM 3 G17-26985_British Watercolor Catalogue_Text.indd 3 2/22/17 3:19 PM Acknowledgements A British Sentiment: Landscape Drawings and Watercolors Dickinson College, under the direction of Amanda 1750–1950 from the Collection of John Harbold is a curatorial DeLorenzo and Neil Mills. Curatorial materials and addi- project by senior Art History majors at Dickinson College. It tional graphic design and production was provided by the stems from an annual seminar designed to introduce students Print Center, where I wish to acknowledge the work of Ken to the practice of preparing an exhibition and catalogue. Ball, Kurt Smith, and Krista Ulmen. Marketing and Working with objects on loan to The Trout Gallery, the ten Communications was provided by Connie McNamara, with student curators selected the works for the exhibition, Christine Dugan, MaryAlice Bitts, and Michelle Simmons. organized the material into major themes, prepared the Thanks as well to Lydia Hecker, Specialist, Interlibrary following essays, and produced the exhibition didactic and Loan Services; James Gerenscer, Archivist, Special educational materials. Collections; Malinda Triller, Waidner-Spahr Library, A British Sentiment is made possible through the generosity Dickinson College. Technical support was provided by the of John Harbold P’07, whose promised gift of an important staff at Library and Information Services, in particular, collection of British drawings and watercolors to The Trout Katelin Moul. Gallery provided a remarkable selection of works on which to At The Trout Gallery I am grateful for the support of the base this exhibition. His thoughtfulness, matched by museum’s Advisory Committee and the Friends of The generations of support from alumni and friends, furthers The Trout Gallery. Stephanie Keifer, the museum’s senior Trout Gallery as an important center for the study and administrative associate, copy-edited the catalogue text and enjoyment of the visual arts in one of the nation’s leading provided essential organizational services. She is assisted by liberal arts colleges. Lillian Middleton. James Bowman prepared the objects and A British Sentiment was produced in part through the worked with members of the seminar to design and install generous support of the Helen Trout Memorial Fund and the the exhibition. In museum education, Heather Flaherty and Ruth Trout Endowment at Dickinson College. Educational Amie Bantz provided a range of educational programs to the programming is supported in part by The Trout Gallery Dickinson College and Carlisle community. Rosalie Mumper-Stuart Educational Center. Lehman, Susan Russell, and Catherine Sacco provided I thank Interim President Neil Weissman, faculty, staff, essential visitor services. and students for engendering a scholarly environment that values the central role of the visual arts in an undergraduate academic experience. I thank members of the college’s senior administration: Karen Neely Faryniak, Brontè Burleigh- Phillip Earenfight Jones, Joyce Bylander, Stephanie Niles, Michael E. Reed, Robert Renaud, Dana Scaduto, Kirk Swenson, and Robert Director, The Trout Gallery Winston, for their on-going support of The Trout Gallery Associate Professor of Art History and its mission as an all-campus academic resource. The handsome graphic design for this book and related promotional materials was provided by Design Services at 4 G17-26985_British Watercolor Catalogue_Text.indd 4 2/22/17 3:19 PM Table of Contents Introduction: Landscape Painting: Background to Subject 6 Phillip Earenfight Essays The Watercolor Manual: Legitimizing Watercolor Through Text 12 Jackson Zyontz British Watercolorists and the Validation of their Art 19 Alexia Tobash Aesthetic Integrity of the Picturesque 26 Taylor Hunkins Humphry Repton’s Vision in English Garden Design 32 Xiaoqi Huang The Classist Ideology of the Picturesque Mode 38 Christopher Guy Loss and Recovery: British Landscapes as National Identity 43 Claire Paulsen Abroad and At Home: The Impact of the Grand Tour and Domestic Tourism on British Landscape Painting 50 Sophie Weinstein English Gothic in the Countryside: Victorian Taste in Stone and Paint 57 Olivia Falcey Departures from Nature 64 Caroline Fallon John Ruskin and Matthew Arnold: The Nineteenth-Century Critics’ Love of Landscape 69 Joelle Paull Exhibition Catalogue 76 5 G17-26985_British Watercolor Catalogue_Text.indd 5 2/22/17 3:19 PM Landscape Painting: Background to Subject Phillip Earenfight The image of an artist in a landscape, with portable easel, images of the landscape assumed a high level of importance paint box, and parasol, working out of doors and represent- (e.g., Sung Dynasty China) such imagery, as is true of all ing the vista as if it were a slice of the view before them, is genres, is a product of historical and cultural circumstances.1 among the most common conventions to suggest the concept One has only to consider painting in Europe prior to the of a “painter.” This is conveyed nicely in Winslow Homer’s fourteenth century to find a rich and vibrant tradition of Artists Sketching in the White Mountains (fig. 1), where a manuscript, panel, and wall painting that is dominated by group of painters—including the artist—takes their place images of man and the divine and virtually free of landscape along a sunny ridge to render their view. The notion that imagery, save for an occasional miniature palm tree that artists ought to paint landscapes is so widely accepted in stands for all of paradise. Indeed, the western pictorial contemporary western society that one could hardly be tradition, which emerged in antiquity among the dominant Mediterranean cultures, is one in which the human form is faulted for assuming that such imagery always existed—that the purpose for imagery, and only under particular historical it follows as a matter of course. On the contrary, in the West, and cultural circumstances that the space around the figures as in other parts of the world where making and acquiring (i.e., the landscape) assumes greater prominence. Contrary to prevailing assumptions, representations of the landscape, even as nothing more than a space in which figures perform, are unusual among pre-modern cultures. Moreover,