Study of Clouds (recto); Study of an Elder Bush by a Fence (verso) 1820 - 1845

Editor: This watercolor drawing, "Study of Clouds" by David Cox, made sometime between 1820 and 1845, feels so open and expansive. The clouds fill most of the frame, looming over a distant horizon. What stands out to you in this piece? Curator: Well, given its date, it's fascinating to consider this work in the context of the Romantic era, which was deeply invested in nature. Cox’s choice to focus on something as transient as clouds aligns with a broader cultural interest in the sublime power of the natural world. We see a societal shift from controlled landscapes to uncontrolled powerful scenery. Consider how art institutions were just beginning to gain traction; how did the lack of these formalized spaces impact the subjects being portrayed and the choices artists like Cox were making? Editor: That's a great point! It makes me wonder if the focus on clouds was partly a reaction against the formal artistic training focused on classical subjects and landscapes, choosing subjects that were previously seen as unworthy. Curator: Exactly! And beyond the subject, consider the medium. Watercolor was often seen as less prestigious than oil paint. The rise in watercolor's popularity coincides with an expanding art market and a growing middle class. Watercolors were often collected as keepsakes and souvenirs. Do you see this intimacy reflecting in Cox’s work? Editor: I do see that reflected. Knowing it was watercolor almost changes the emotional dynamic of it. I originally saw grandeur, but learning this allows it to feel more delicate, like capturing a personal experience. I wonder, how did British identity tie in with their style of landscape paintings? Curator: That is the perfect question that really gets at the politics of the picturesque. I hope that encourages you to research that question more in depth. Editor: Thank you! I will look more into this for sure.