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This is the name of a fascinating exhibit at Tate Britain. I love that it brings together surprising works, ones you might never see side by side. They are by different artists, produced at different times, sometimes different centuries, using a range of materials and techniques. What brings them together (well, aside from the curator, obviously) is that they are all an artist's interpretation of the landscape. Works are grouped together in pairs that share a common vision - something about the framing and composition that is similar and that affects the viewer and the view in a similar way. The exhibit notes describe 'surprising coincidences and remarkable affinities' and say it offers 'insights into the ways in which a viewer is engaged in the process of looking'.
My favourite pairing is really a trio not a pair, of what I call 'sky' paintings - Arnesby Brown's The Line of the Plough, an oil painting from 1919; JMW Turner's Hill Town on the Edge of the Campagna, an oil from 1828; and Lisa Milroy's Sky, a lithographic monoprint from 1997. They're very different in feel and style but the treatment of the sky, which takes up the majority of the painting in each is exquisite and emotive.
My favourite pairing is really a trio not a pair, of what I call 'sky' paintings - Arnesby Brown's The Line of the Plough, an oil painting from 1919; JMW Turner's Hill Town on the Edge of the Campagna, an oil from 1828; and Lisa Milroy's Sky, a lithographic monoprint from 1997. They're very different in feel and style but the treatment of the sky, which takes up the majority of the painting in each is exquisite and emotive.
Arnesby Brown, The Line of the Plough (1919) (far left); JMW Turner, Hill town on the Edge of the Campagna (1828) (middle); and Lisa Milroy, Sky (1997) (right).
Looking at the View is at Tate Britain until 2 June 2013 (no charge).
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