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View from Moor Park towards Rickmansworth
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View from Moor Park towards Rickmansworth
Credit Line
From the Collection of the Marquess of Zetland, Photo by Jerry Hardyman-Jones
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Artist
Richard Wilson (1713/14-1782)
Title
View from Moor Park towards Rickmansworth
Date
c.1765-67 (undated)
Medium
Oil on canvas
Dimensions
147.3 x 184.1 cm
Dimensions
58 x 72 7/16 in.
Details
Links
Collection
Private Collection, England
Accession Number
132
Wilson Online Reference
P135
Description
This view is from just within Moor Park's western borders, commanding a prospect over Rickmansworth village, with its distinctive church tower and spire, which survived the rebuilding of St Mary's Church in 1826 and again in 1890. Beyond this, the view extends to neighbouring Buckinghamshire. To the left, the River Colne flows northwest, before turning south to join the Thames. It is crossed by two bridges, on the nearer of which a small figure may be observed. Further to the right is a prominent mill or similar industrial building. The hazy distant landscape stretches beyond Chorleywood to the vicinity of Amersham and Chesham. The time is about midday.
This view is from just within Moor Park's western borders, commanding a prospect over Rickmansworth village, with its distinctive church tower and spire, which survived the rebuilding of St Mary's Church in 1826 and again in 1890. Beyond this, the view extends to neighbouring Buckinghamshire. To the left, the River Colne flows northwest, before turning south to join the Thames. It is crossed by two bridges, on the nearer of which a small figure may be observed. Further to the right is a prominent mill or similar industrial building. The hazy distant landscape stretches beyond Chorleywood to the vicinity of Amersham and Chesham. The time is about midday.
Exhibited
BI 1814 (73/76 or 85/88) both described as <i>A View from Moor Park, Hertfordshire</i>; BI 1865 (144 or 162 or 168); Birmingham 1948-49 (66); London 1949 (65); York, <i>Masterpieces from Yorkshire Houses</i> 1951 (50); London, Cardiff and New Haven, 1982-83 (126)
BI 1814 (73/76 or 85/88) both described as
A View from Moor Park, Hertfordshire
; BI 1865 (144 or 162 or 168); Birmingham 1948-49 (66); London 1949 (65); York,
Masterpieces from Yorkshire Houses
1951 (50); London, Cardiff and New Haven, 1982-83 (126)
Provenance
Painted for Sir Lawrence Dundas; thence by descent
Painted for Sir Lawrence Dundas; thence by descent
Signature/inscription
Unsigned; no inscription
Unsigned; no inscription
Techniques and materials
Warm pink ground. A pupil's hand may be discerned in the rougher handling of the tree and its foliage to the right.
Warm pink ground. A pupil's hand may be discerned in the rougher handling of the tree and its foliage to the right.
Collectors' marks
Verso inscriptions
Pencil inscription inverted on lower left stretcher: Thos. Moore Darlington | Left to be called for
Pencil inscription inverted on lower left stretcher: Thos. Moore Darlington | Left to be called for
Mount inscriptions
The frame is inscribed in black in upper centre: 132
The frame is inscribed in black in upper centre: 132
Labels
Top of frame Tate 1982 label: Inv. No. 132
Top of frame Tate 1982 label: Inv. No. 132
Subject
Related Subjects
Related Drawings
Related Prints
Versions
Related Paintings
P133 <i>Moor Park Hertfordshire</i>, Private Collection, England P134 <i>Moor Park, Distant View towards Cassiobury</i>, Private Collection, England
P133
Moor Park Hertfordshire
, Private Collection, England
P134
Moor Park, Distant View towards Cassiobury
, Private Collection, England
Related Works by Other Artists
Joseph Farington, <i>Richard Wilson painting in Moor Park</i>, graphite on paper, 1765, Farington Sketchbook, Victoria & Albert Museum, London (75.1921)
Joseph Farington,
Richard Wilson painting in Moor Park
, graphite on paper, 1765, Farington Sketchbook, Victoria & Albert Museum, London (75.1921)
Critical commentary
One of three views of Moor Park painted for Sir Lawrence Dundas (see P133 and P134). The low flat horizon and detailed account of the weather bring to mind Dutch prototypes. The prominent fencing activities of the peasants resting in the centre foreground are probably connected with the enclosure legislation of the day. A contemporary critic considered this or one of the Moor Park views to be 'one that may convince the World that the simple Grandeur of an extensive, richly-cultivated wooded Plain, and the Verdure, almost peculiar to our Island, so much admired in Nature, and so much decried in Imitation, may have extraordinary Beauties in a Picture.' (<span class="italic">Public Advertiser</span>, 1 May 1767). Wilson's careful observation of the changing weather on the horizon prefigures Constable's fascination with such phenomena.
One of three views of Moor Park painted for Sir Lawrence Dundas (see P133 and P134). The low flat horizon and detailed account of the weather bring to mind Dutch prototypes. The prominent fencing activities of the peasants resting in the centre foreground are probably connected with the enclosure legislation of the day. A contemporary critic considered this or one of the Moor Park views to be 'one that may convince the World that the simple Grandeur of an extensive, richly-cultivated wooded Plain, and the Verdure, almost peculiar to our Island, so much admired in Nature, and so much decried in Imitation, may have extraordinary Beauties in a Picture.' (
Public Advertiser
, 1 May 1767). Wilson's careful observation of the changing weather on the horizon prefigures Constable's fascination with such phenomena.
Previous Cat/Ref Nos
Bibliography
Moor Park Receipt 1767; Catalogue 1814, p. 16 or 17; Farington Diary, 14 August 1813; Waterhouse 1953, p. 177; WGC, p. 182 pl. 47a; Constable 1962, p. 145, doc.1; Solkin 1982, pp. Solkin 1982, pp. 126-29; 232-33
Moor Park Receipt 1767; Catalogue 1814, p. 16 or 17; Farington Diary, 14 August 1813; Waterhouse 1953, p. 177; WGC, p. 182 pl. 47a; Constable 1962, p. 145, doc.1; Solkin 1982, pp. Solkin 1982, pp. 126-29; 232-33
Link to WG Constable Archive Record
Location featured in work
More Information
P135 is believed to be the only surviving painting of the Church of St Mary, Rickmansworth as it was in the 1760s, prior to demolition and the rebuildings in the 19th century. The fields on the horizon are now bisected by the M25 motorway, though this is mainly concealed in a cutting [Information kindly supplied by Dr Heather Falvey].
P135 is believed to be the only surviving painting of the Church of St Mary, Rickmansworth as it was in the 1760s, prior to demolition and the rebuildings in the 19th century. The fields on the horizon are now bisected by the M25 motorway, though this is mainly concealed in a cutting [Information kindly supplied by Dr Heather Falvey].
Condition/Conservation
Kate Lowry has noted: The painitng was conserved in 2012-13 when it was cleaned, revarnished and retouched. Pine stretcher probably dates from early 20th century when the work was glue relined. The original canvas is medium weight, simple weave and lined onto a similar weight canvas. There is a pink ground which is visible around the foliage against the sky at the right. The heat haze over the hills on the horizon is indicated by drawing the sky tone down over a dark blue tone of the distant landscape, leaving bluish lines where the bristles have drawn through the paint. On the horizon shafts of sunlight and squalls of rain are visible. The tree foliage is reasonably good for Wilson, but the greens in the foreground are rather bland and bright, suggesting a pupil's assistance.
Kate Lowry has noted: The painitng was conserved in 2012-13 when it was cleaned, revarnished and retouched. Pine stretcher probably dates from early 20th century when the work was glue relined. The original canvas is medium weight, simple weave and lined onto a similar weight canvas. There is a pink ground which is visible around the foliage against the sky at the right. The heat haze over the hills on the horizon is indicated by drawing the sky tone down over a dark blue tone of the distant landscape, leaving bluish lines where the bristles have drawn through the paint. On the horizon shafts of sunlight and squalls of rain are visible. The tree foliage is reasonably good for Wilson, but the greens in the foreground are rather bland and bright, suggesting a pupil's assistance.
Illustrations of the Work
Updated by Compiler
04/05/2020
04/05/2020
Work of Art
Paintings
Moor Park Hertfordshire
, Private Collection, England
Moor Park, Distant View towards Cassiobury
, Private Collection, England
Exhibitions
London, Tate Gallery, Cardiff, National Museum of Wales, and New Haven, Conn., Yale Center for British Art, 3 November 1982 - 19 June 1983
Birmingham City Art Gallery, 17 November 1948 - 9 January 1949
London, Tate Gallery, 22 January - 14 March 1949
London, British Institution, 1814
Biographies
Sir Lawrence Dundas, 1710-1781
Documents
William George Constable,
Richard Wilson
David Solkin,
Richard Wilson: The Landscape of Reaction
Ellis Kirkham Waterhouse,
Painting in Britain 1530-1790
William George Constable, 'Richard Wilson: A Second Addendum'
Anonymous,
Catalogue of Pictures by the late William Hogarth, Richard Wilson, Thomas Gainsborough, and J. Zoffani. Exhibited by permission of the proprietors in honour of the memory of those distinguished artists, and for the improvement of British art
Richard Wilson, Receipt for Three Paintings
Part of a sketchbook
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