| Abstract: | The new outlook on nature as a restorative for jaded urban-dwellers that is associated with Victorians' sense of an increasing separation from their natural environment, had a powerful influence upon the imagination of mid nineteenth-century landscape artists choosing to work in south-east England. Although they established close business relations with the metropolis and provincial cities, they experienced a loss of confidence in London as a subject for landscape painting and with new opportunities for travel provided by railways they preferred to satisfy a quasi-scientific curiosity in the visible appearance of natural and semi-natural beauty in the green world beyond London, especially in the expressively-shaped Weald, long connected with aesthetic appreciation and scientific observation. Their specific contribution of plain-air realism was to conceive the Wealden landscape both as a natural marvel and a human epic, an idea then new and exciting to the mind. Their feelings of awe and wonder have Ruskinian undertones and are inextricably linked with the drama of earth history that natural scientists were simultaneously unfolding in a newly constituted laboratory of field studies. This spiriting of a new, imagined, wilderness out of what wooded nature still survived in a shrunken form after the clearings of pioneer farmers became an inexhaustible source of enrichment to nineteenth-century urban life and conforms at least partially with mid-Victorians' perception of a natural habitat juxtaposed with one of the world's largest and most artificial environments that Victorians themselves were creating. It became a nearly symbolic image of an ideal English landscape which existed largely as a protected paradise of the urban imagination. |
