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Observation 68: Landscape into Art

In 1844 David Cox came to Betws y Coed and according to the art historian Peter Lord the next 50 years saw some 2000 painters follow his example.  Not only did they find the sublime landscape in perfect harmony with the romantic ideal, but they and their focus formed the basis of what has become tourism in North Wales today.

The direct consequence of the Betws y Coed venture was the formation of the Royal Cambrian Academy, located at Conwy - one of the few national institutions that has not relinquished its hold to South Wales.  The Academy has recently developed a new chapter with a new gallery and an increasingly professional membership, a major attraction in the area, inevitably reflecting the celebration of Snowdonia.  It  flourishes as a professional institution.

Painters now may have a lower profile, but only because their focus is shared by other media especially the photograph; the sublime has lost none of its magic.

We tend to see with our selective minds before we see with our eyes. This supports the wisdom of publications for all interests. Interpretation is a whole area that must be realised it imparts information, represents pride and invitation, and could establish a premise for economic expansion.

A publication on painters in the area is being undertaken.  The Napoleonic wars inhibited the cultural visits to Italy and precipitated the "discovery" of the British sublime landscapes. Snowdonia was a serious contender for top of the list.  It boasts the father of British landscape painting Richard Wilson (born at Penygoes) followed by the Varley brothers, Turner, Cotman, Peter De Wint, Augustus John and John Piper (who lived in Nant Ffrancon). Snowdonia remains the hunting ground for many,  headed perhaps by the President of the Royal Cambrian Academy Sir Kyffin Williams. 

It is worthwhile considering the impact Wordsworth still has on tourism in the Lake District

The painter of such landscape takes on a perilous task an unlimited choice of chaotic drama in a constantly changing light. He must travel prepared for sun or cloudburst and make what he can of the day and any part of it. He therefore develops a working method that is complex, unrelated to normal working hours, and he must always be ready to change direction and location.

The park and ride concept shows a total lack of understanding for working method and would undermine the seriousness of intent.  It would accommodate no more than an uncomfortable access to an amateurish encounter.

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