A DUTCH ITALIANATE HORIZON IN MELBOURNE with Kathleen Kiernan

A transfer of artistic vision took place in an intertwined world of artists working in Britain in the 18^th century. Artists began to shape the development of English landscape inspired by Dutch artists and their Italianate counterparts.

English artists adopted certain motifs that oscillated between the notions of naturalistic representation and of the idyll. Some of the 18^th century British landscape paintings in The Johnston Collection assimilate familiar peasants from the Campagna into a new context: the rural poor of England.

By examining The Johnston Collection, we can become more sensitive to the composition and motifs of landscape art of this period by understanding the transnational context and British appropriation of motifs and techniques.

KATHLEEN KIERNAN completed her doctorate on 18^th century British landscape art at the University of Melbourne. She has worked as a tutor in the undergraduate Art History program since 2014. Kathleen was the Harold Wright Scholar in 2007. She is currently working towards publishing her book, Dutch Prints in the English Landscape.

Kiernan’s past lectures at the Collection were PERFECTLY PORTRAYED: Pastel painting and miniature portraits and JONATHAN RICHARDSON: the necessity of an education in aesthetics for every gentleman (2018)

in the style of Claude Lorrain, (Claude, Claude Gellée, Claude Gellée, dit le Lorrain, circa 1600 – 1682), after Salvator Rosa (1615-73), untitled (landscape with allegorical figures and cattle), [England / France], circa 1650, oil on canvas on board | f: 1118 x 1157 x 110 mm, (A0898-1989, Foundation Collection)