The Sublime, Thoughts On Landscape Interpretation

The Sublime

Thoughts on Landscape Interpretation

I wanted in this my latest ramblings to talk a little bit about the ideas of The Sublime. And how these thoughts can translate to landscape painting.

Im sure that many people by now know that the romantic artists of the nineteenth century are a huge inspiration to me. It was not only the visual art, but also the poetry and ideas circulating around this time that I find intriguing. The sublime is often seen, certainly in literature as witnessing the beauty of the natural world. And can also be interpreted (and this is the interpretation I adore) as seeing not just the beauty of nature but also its malice, something dramatic happening within a scene. That wonderful feeling of unease for example, as the sun dips behind the curvature of the earth and everything is suddenly bathed in a dark blue sombre light. Its these subtle, but powerful moments that we can sometimes witness that I interpret as sublime. Or at least following on those original ideas and theories. Edmund Burke had some fascinating ideas on the subject of The Sublime. He believed that fear was a primary reason we as viewers enjoyed looking at the stormy paintings of Turner for example. The idea that fear stimulated more emotions (understandably!) then merely looking at a scene that was more peaceful would. And in viewing a painting of a storm, we could do so without the real worry of coming to physical harm. Thus we could be awe inspired by the power of it all, without being washed away or struck by lighting. And certainly with my own work, I also enjoy painting a moment that is both peaceful, but also maybe a little unnerving in its appearance.

So the romantic ideas are hugely important to my thinking. But I have also been rather obsessed with British art from the first half of the twentieth century. Its a time that I think has huge significance to modern art as a whole. And maybe, its sometimes a little overlooked? Certainly I think that there were some quite incredible and experimental artists working and creating some really cutting edge pieces of work around this time. As well as the thinking behind these avant-garde movements. Before the first world war, there were the Vorticists for example. A short lived movement that wanted to portray the dynamic and changing energy of the modern world. Wyndham Lewis was its founder, a controversial character maybe, but he alongside some other rather brilliant artists (Wadsworth, Epstein to name a couple) created some incredible and modern work for the times. Some of which still looks incredibly contemporary. It was however a very short lived movement. But I think it stands as a prime example of just how forward thinking some artists where around this time.

But of course for me, I look to the landscape artists working around this time. The incredible and sublime works of Piper for example, especially his works during the second world war. He like many artists became an official war artist, and was commissioned to record scenes related to the fighting. War artists where a mix of different artists all specializing and recording different subjects during conflict. John Piper was commissioned by her majesty the queen to paint the castle at Windsor, some incredible and very powerful water colours resulted. And then there was Paul Nash, our surrealist painter. Again a war artist, who not only recorded the first world war, but also the second. “We Are Making A New World” one of his most famous, and haunting paintings. A muddy, desolate scene of destruction, all beneath a new sky, with dark red clouds. The rising sun making a total mockery of the scene, a new world of nothing but dust and death. Another painting that plays on the ideas of fear and sublime, the horror of this of course amplified beyond by the fact that so many people did witness such a horrific landscape for real. A sunrise isn't always a thing of beauty and hope.

I suppose again though, its a testament to how critical the work of landscape painters can be. The war artists were able to capture some of the most intense and powerful scenes through their art. And the results I think hit harder then many of the photographs of the time manage. There is an extra element of course to a painting, that of the artists touch, their interpretation coming forth in the image they are creating.

Many things are described as sublime, some beautiful and quiet, others powerful and even menacing. But certainly its an idea that always gets me thinking when Im out sketching. The sky is vast, the landscape around us can overpower us, the huge clouds can be dark and foreboding, and the ocean can appear infinite. What a marvelous subject nature is!

Many thanks for your time.

Till next time

AViner