Dimensions: support: 445 x 692 mm frame: 660 x 915 x 90 mm
Copyright: CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: So, this is *May, in the Regent's Park* by Charles Allston Collins. The layering of foliage gives it a slightly voyeuristic feel. What catches your eye in this tranquil scene? Curator: Oh, absolutely! It’s like stumbling upon a secret garden, isn't it? I love how Collins uses that intense foreground detail to pull you into the middle-ground’s almost dreamlike vista. It feels both intimate and expansive. Do you sense the artist’s longing for escape, too? Editor: I hadn't considered the feeling of escape, but I see it now. The composition invites you into the scene. Curator: Precisely! It's like Collins is saying, "Come, wander with me." I almost feel the warmth of the sun in the park. Editor: It's amazing how much a painting can evoke once you start to unpack it. Curator: Right? I think this painting has a quiet intensity, don't you? It's got me thinking about the parks I love and why.
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http://www.tate.org.uk/art/artworks/collins-may-in-the-regents-park-t03025
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This picture was probably painted from the artist’s family home in Hanover Terrace in London and shows the view east across Regent’s Park. The minute detail of this urban landscape, presented squarely and with little spatial depth, was considered absurd by critics when it was exhibited in 1852. Charles Collins’s meticulous painting style closely associated him with the Pre-Raphaelites. John Everett Millais proposed him for membership of the Brotherhood in 1850 but he was not accepted. By the end of the 1850s he had abandoned painting to concentrate on writing novels and essays. Gallery label, November 2016
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