Nutting 1905

Curator: Philip Wilson Steer’s "Nutting," held here at the Tate, certainly evokes a sense of tranquil observation. Editor: It does. My first impression is the thick impasto – the materiality of the paint itself almost obscures the scene, creating a hazy, dreamlike quality. Curator: Steer was known for his interest in the materiality of paint and the processes of artmaking. He admired artists like Turner and Constable, and he likely explored how they captured light and atmosphere through their techniques. Editor: Absolutely. And it makes you wonder, who has access to this kind of leisure? What narratives of class and privilege are embedded in this seemingly innocent scene of "nutting," this gathering in nature? Curator: The act of collecting nuts might seem pastoral, but could also imply labour. I wonder about the socioeconomic backgrounds of the figures who would have engaged in this activity. Editor: A crucial perspective! Examining the material conditions represented – and unrepresented – in the painting offers a more complete reading. Curator: I find myself contemplating how the physical act of painting, with its textures and layers, mirrors the layered meanings we've uncovered today. Editor: Indeed. Looking through a contemporary lens reveals the power of art to both reflect and conceal complex social realities.