Landscapes of the Mind

by Yi Mei

A key project of China-UK cultural exchange， “Landscapes of the Mind： Masterpieces from Tate Britain （1700-1980），” jointly organized by Tate and the National Art Museum of China （NAMOC）， is tracing the development of British landscape painting over nearly three centuries for the Chinese audience.

More than Visuals

The exhibition at NAMOC follows the remarkable development of Britains greatest contribution to European art—landscape painting—via Tates unrivaled collection of British paintings. Comprised of a superb selection of works of outstanding beauty and originality， it also illuminates exactly how landscape art became the central expression of British visual imagination.

The exhibition begins with the great topographical and classical painters of the 18th century and moves through the Romantic， Pre-Raphaelite and Impressionist artists of the 19th century before arriving at the pioneering modernists of the 20th century. Each of its five sections—“Looking and Dreaming，”“Classical and Romantic，” “Naturalism and Impressionism，” “The Early Modern Landscape” and “The Later Modern Landscape”—includes many of Tates finest oil paintings， watercolors and drawings as well as prints， photographs and books.

Along with providing a thrilling visual display， the exhibition also narrates a fascinating story of the wider historical and cultural development of Britain. Great paintings are positioned in the context of the literary， philosophical， political and social forces that shaped the nations growth over nearly three centuries. By focusing on landscapes， British artists tapped into the heart of the national image.“From Constables gentle fields to Martins apocalyptic visions， from Turners stormy mountains to Nashs surreal lowlands， landscapes have been Britains greatest contribution to art for three centuries，” remarks curator Richard Humphreys.“This exhibition presents the remarkable achievements of Britains greatest landscape artists， revealing a rich story of change and continuity which reflects the nations endless fascination with the natural world and mans place within it.”

The exhibition is not only a collection of visual expressions of the physical world， but also an in-depth investigation of mans relationship with nature over time. Considering the growing concerns around environmental issues， examining landscapes by the great painters of the past can help inform the way we look at the future.

China-UK Cultural Exchange

This exhibition is the culmination of more than two years of collaborative work between institutions in China and Britain. However， it is not the first time that Tate Gallery， the UKs national museum of British and international modern and contemporary art， has shared its collection with a Chinese institution. Back in 2009， the exhibition “Turner from the Tate Collection” was held at NAMOC， which received a huge response from Chinese patrons. So， “Landscapes of the Mind： Masterpieces from Tate Britain” is the second collaboration between Tate and NAMOC and also an important exhibition project of the International Exhibition Exchange Series of NAMOC.

“From its inception， this partnership has received staunch support from the UK Government as an important measure supporting the British relationship with China and highlighting the flourishing cultural exchange between our two countries，” notes Alex Farquharson， director of Tate Britain.

China and Britain， two countries with profound history and cultural tradition， are both home to splendid art that is both unique and diversified. Landscape paintings have been a favorite of Chinese artists since ancient times. But the curator still believes the Chinese audience will see new things at the event.

“I hope the public here will find something of interest at this exhibition because I am all too aware， of course， that China has its own rich ancient tradition of landscape art， one that achieved great sophistication and beauty many years before the British turned their attention to the genre，”says curator Humphreys. “But there may be something instructive in considering the differences between the two traditions. And also， perhaps， some pleasure in pondering over the parallels and similarities， whether they are tendencies towards a literary and philosophical approach， a pastoral longing for a better world， or a simple joy in the spontaneity of perception and the fluid possibilities of water-based media.”

As noted by Wu Weishan， director of NAMOC， the geographical distance between the two countries has never stopped mutual attraction between the two splendid civilizations nor communication between the two cultures. People from Eastern and Western countries share the same passion for nature. “Every piece is a showcase of the artists boundless love for nature，” he declares. “Its not only about landscapes in the eyes， but the landscapes of the mind.”