Articles in ‘Nature in art and literature’

The landscapes of Don McCullin

February 19th, 2010

Landscape in winter

The photojournalist Don McCullin is better known for his work recording war and urban strife around the world, but his more recent work has concentrated more on black and white landscape photography, often taken during the winter in his adopted Somerset . I find them stark, bleak and beautiful.

Don McCullin notes on his love for winter: Read the rest of this entry

Animal focused street photography

February 8th, 2010

giacomo brunelli animals 13 Giacomo Brunelli The Animals Book

With an old black and white 35mm camera the photographer Giacomo Brunelli prowls the night in search of his subjects in backyards, small villages, fields, farms and near his home in London. Brunellihas developed a style which he calls “animal focused street photography”.”By pushing the boundaries of nature photography he creates eerie and unfamiliar images, which succeed in capturing the instinctive drama and wildness of his subjects” More here

giacomo brunelli animals 11 Giacomo Brunelli The Animals Book

Photos from here

Carry Akroyd’s landscapes

January 6th, 2010

carry_akroyd_colonsay_oronsay_islay_and_jura

I’ve recently rediscovered the wonderful wildlife and landscape paintings by Carry Akroyd. The above work is entitled Colonsay, Oronsay, Islay & Jura, though most of her work is centred on rural England. Lots more of her work here at her website.

The Lark Ascending

January 5th, 2010

The Lark Ascending by Vaughan Williams is one of my favourite pieces of classical music and I know of no other which conveys so well the beauty of the English countryside. Written in 1914, it was inspired by George Meredith’s 122-line poem of the same name about the skylark. Vaughan Williams actually wrote sketches for it whilst watching troop ships cross the English Channel at the outbreak of war. A small boy observed him making the sketches and, thinking he was jotting down a secret code, informed a police officer who subsequently arrested the composer! Thus, although the piece appears to be a pastoral idyll, at its heart it is a nostalgic work about England and the loss of innocence that the First World War brought.

The composition is intended to convey the lyrical and almost eternally English beauty of the scene in which a skylark rises into the heavens above some sunny down and attains such height that it becomes barely visible to those on the ground below. Text adapted from Wikipedia


Constable and the English countryside: The Hay Wain

November 20th, 2009

. . . Constable paints nature at a point in history when its total destruction by the hand of man had not yet become conceivable.  But only just . . .   Wessel Krul in Green and pleasant land: English culture and the Romantic countryside

“Quintessentially English” is how Constable’s landscapes are frequently described. It’s a source of quiet satisfaction to the painter’s most nationalistic fan base that he was happy to live his life entirely in England, never crossing the Channel, even though his work was much more enthusiastically received by French critics.

Born in East Bergholt, Suffolk, Constable even found the dramatic landscapes of the Lake and Peak Districts too foreign.  Rather than mountains, he was inspired by the vast skies of the East Anglian flatlands where he grew up.

Popular opinion was never bothered by intellectual sneering and by 1880 the countryside of The Hay Wain (finished in 1821) was already being promoted as “Constable Country”.  Visitors ever since have been drawn to the banks of the River Stour, where Willy Lott’s cottage still stands (Grade 1 listed), so they can compare the view with the painting.  It’s reassuringly similar, though the river runs deeper these days, as East Anglia sinks. Read the rest of this entry

Landscape painting and nature tourism: the Falls of Clyde

October 4th, 2009


The landscape painters of the 18th century were among the first promoters of nature tourism in Britain. Their work inspired people to go on tours of wild places and admire the grandeur of nature.  One popular destination, much sketched, painted and written about, was the Falls of the Clyde in Scotland.

Jacob More’s work is a romanticised view of the highest and largest of the Falls, the Corra Linn. Viewers of the painting could identify with the group of tourists in the corner, awe-struck by this “rude slope of furious foam”, as 18th century travel writer Thomas Pennant described them. They might even be galvanized to do a trip to the wilds of Scotland themselves. Read the rest of this entry

The house and garden of Roger Deakin

September 28th, 2009

Anyone who has enjoyed reading Roger Deakin’s books, especially Waterlog and Notes from Walnut Tree Farm, will love listening to these radio programmes that he recorded for the BBC.  Produced by Sara Blunt, the 25 minute-long programmes capture Deakin’s unusual home and garden, and the man who lived there.  The producer deliberately chose not to use an interviewer, instead allowing Deakin to draw you into his world with his own words. Read the rest of this entry

Wildlife calendar

September 15th, 2009

The remarkable BBC documentary Secrets of the Sett filmed badgers making their beds before venturing out for a night’s foraging. Indeed, one of the signs of an inhabited sett is old straw left at the entrance by house-proud badgers. Cornish wildlife artist Dick Twinney has captured this aspect of badger behaviour in an engaging painting, included in the 2100 calendar he’s put together. Take a look at his keenly observed and vividly textured images in the Living Countryside calendar available in a limited number of 500 signed editions.

Driftwood Sculptures

August 22nd, 2009

I love these driftwood sculptures of life-size horses by Heather Jansch. They are built from driftwood collected on local beaches. They seem to  capture the energy and movement of real horses. Image from here

The Monarch of the Glen - the most famous animal portrait ever?

August 12th, 2009

A red deer stag stands with its powerful neck raised, antlers filling the sky. In the background mists swirl over the Scottish Highlands. The Monarch of the Glen was painted in 1851 by Sir Edwin Landseer, a star in his own time.  Animals were his speciality, both in painting and sculpture - the lions at the base of Nelson’s Column in Trafalgar square are his.  Emotive portraits of animals went down very well with the Victorian public, crossing the class divide.  Queen Victoria had Landseer paint her pets, while the middle classes bought prints of his work to hang at home. Read the rest of this entry

Pre-Raphaelites and nature: Ophelia

July 24th, 2009

The Pre-Raphaelite Brotherhood scandalised the Victorians with their unconventional paintings.  But Ophelia by John Everett Millais was loved even when first completed in 1852.  It remains one of the most popular paintings in the Tate collection and the gallery’s best-selling postcard.

The Industrial Revolution was in full blast, bringing with it a new freedom of movement. Millais, one of the founders of the Brotherhood, would take the train out of London and paint nature as he saw it, not according to the fixed conventions taught at the Royal Academy. Read the rest of this entry

The Shipping Forecast by Seamus Heaney

July 13th, 2009

I love the unique and lulling cadences of the Shipping Forecast and this sonnet by Seamus Heaney captures its atmosphere perfectly. Read whole poem (BBC)

Dogger. Rockall. Malin, Irish Sea:
Green swift upsurges, North Atlantic flux
Conjured by that strong gale-warning voice.
Collapse into a sibilant penumbra.

Listen to today’s forecast.

On the origin of the Lake District

July 12th, 2009

The area we now call the Lakes was once much wilder. Read the rest of this entry

Grizedale, Westmorland

July 10th, 2009

File:Sidney Richard Percy22.jpg

Another painting by Sidney Richard Percy (1821 - 1886). This one is entitled Grizedale, Westmorland. Read the rest of this entry

Wildlife and Sex on Hampstead Heath

June 28th, 2009
John Constable, Hampstead Heath, c.1820

John Constable, Hampstead Heath, c.1820

The management of London’s biggest park (790 acres/ 320 hectares) involves balancing recreational activities with nature conservation. Stressed out city dwellers can relax in a rural landscape, composed of a rich variety of habitats, including meadows, where grass is allowed to grow long to favour butterflies, and woodlands, where all three of Britain’s woodpeckers nest.  Outdoor swimming is a popular activity on the Heath, while by one of the 25 ponds a bank has been constructed to encourage kingfishers to breed.  Up on Parliament Hill kite-fliers enjoy spectacular views of London and might also see Kestrels and Sparrowhawks hunting.

Encouraging respectful attitudes from the wide range of visitors is an important part of looking after the Heath.  There is a particular problem with the amount of rubbish left behind by night-time pleasure-seekers in West Heath, for example, famed as a safe cruising zone. The “Heath & Hampstead Society” proposes the following:

“The Society is . . . working with the City to come up with new ways to manage the problem, for example, putting solar lamps in trees to power flashing beacons on litter bins during the night.”