DUKE OF HEREFORDS KNOB & BAPTIST CHAPEL AT CAPEL-Y-FFIN 1938

Editor: This is Eric Ravilious’s watercolor from 1938, "Duke of Hereford's Knob & Baptist Chapel at Capel-Y-Ffin." There's something so distinctly British about it; it evokes a really melancholic, almost haunted atmosphere. What historical forces do you think might be at play in shaping a scene like this? Curator: A pertinent question. Ravilious painted this on the eve of the Second World War. Considering this historical context, his choice to depict such a remote and quiet landscape speaks volumes. Britain at this time faced considerable socio-political uncertainty; how do you see that potentially manifesting itself in his aesthetic choices here? Editor: Well, perhaps in the focus on the rural, in trying to preserve this image of a simple, untouched Britain? Like a nostalgic counterpoint to industrialisation and the looming threat of war. Curator: Exactly! The rise of nationalism and the anxieties around cultural identity played a big part in promoting such imagery, both through government-backed initiatives and in the public imagination. The public role of art in wartime cannot be overstated. Consider, for example, the "Recording Britain" scheme around that period, a drive for artists to depict what they felt was distinctive about British towns and countryside before any potential destruction. Editor: That gives this landscape an added layer of meaning. I hadn't thought about that. Curator: Do you see how Ravilious, by aestheticising it and putting it on display, essentially transformed this quiet chapel into a potent symbol of Britishness itself? It shows how much power is at play in image making, particularly in those days. Editor: I’m starting to see how much the political climate shaped seemingly neutral landscapes. It’s much more than just a pretty picture. Curator: Indeed. Now look again and ask yourself: whose version of Britain is he presenting, and why?