British Landscape Paintings: History, Restoration & Expert Tips for Preservation

Landscapes continue to be one of the most admired genres in British art history. These picturesque views not only transport us back in time, but allow us to reminisce about our favourite locations – whether these are rolling country hills, the sand dunes of holidays past, vast and tranquil lakes or the mist of the Scotland highlands. 

Above: a selection of British landscape paintings including views of rural life, castles, churches and country estates 

Oil paintings with a focus on dramatic skies and detailed natural tones rely on their original palette to replicate the view, as intended by the artist. However, many will face discolouration as they age. This can be due to the expected decay of the varnish, exacerbated by fireplace smoke or nicotine. This darkening, yellow hue seems to turn a landscape painting into a permanent sunset scene, even if the true composition shows the morning light. You can see the difference in the result below:

Due to their popularity, our team of Easel Painting Conservators has worked on many British landscapes. Our studio often takes care of these pieces following accidents, fires and water damage – as well as for routine cleaning and maintenance. A landscape is not only visually pleasing following treatment, but stable for its ongoing display and preservation. 

This article will cover the history of British landscape painting, as well as the issues that may face them as they age or become exposed to different environments in your home. Our conservation team will offer tips on how to display and preserve your paintings, as well as the professional treatments that can be used to save them following damage.

Above: a view of Bardon Hill, Coleorton Hall by John Constable (1823) and Cattle at a Pool at Sunrise by James Ward (1827)

A Short History of Landscape Painting in Britain

The earliest British landscapes depicted in oil paint are associated with Alexander Keirincx. Originally from the Dutch Republic, Keirincx was amongst the many Flemish and Netherlandish artists working in Britain during the 17th century. This allowed him to bring over the influence of Brueghel and the masters of the Northern renaissance, known for their innovative use of perspective. 

Above: detail from a view of Richmond Castle by Alexander Keirincx, 1639

Keirincx was commissioned by Charles I to paint a series of castles, sharpening the focus of British landscape art as a way to capture power through land ownership. This became a central theme over the coming centuries, with many aristocrats choosing to have their estates recorded in oil paintings – often with an idyllic quality. 

Above: detail from a view of Wollaton Hall and Park in Nottinghamshire, 1697

A pastoral and classically inspired view of the British landscape could enhance it beyond a literal interpretation, producing a sensation of otherworldly beauty. Through this, landowners could feel that they not only had dominion over fields and hedgerows, but a piece of Arcadia itself – the utopian garden of ancient mythology.

Above: detail from Landscape with Haymakers by William Ashford, 1780

In the 18th century, Thomas Gainsborough was known for his skill in landscape painting. During this era, portraiture was much higher in demand and so Gainsborough infused many of his figurative pieces with a lush and sometimes overwhelming natural backdrop. Portraits of aristocrats seated in their vast estates have become intertwined with Gainsborough’s work, in the National Gallery, his masterpiece Mr and Mrs Andrews (1750) stands out as one of the most iconic pieces of British art history.

Above: detail from a Portrait of a Woman in a Landscape Garden, 1750

In these eras, artists who composed their work in oil paint required a studio full of pigments and mixing utensils. This meant that landscapes were mostly interpreted from sketches prior to their completion on a canvas or panel. In the 19th century, new innovations allowed artists to travel with their paint and practice their craft outdoors. John Constable is best known for this method of painting ‘en plein air’ and his most famous landscapes were made possible through his ability to walk the countryside in search of attractive rural views. 

Above: detail from an oil sketch of Hampstead Heath with a Bonfire by John Constable, 1822

By the 20th century, impressionist and abstract works had influenced the flow of British compositions, with brush strokes becoming less uniform and literal in their interpretation of the landscape. As photography became more accessible and mainstream, paintings allowed for a more diverse view of the world, with blocks of colour forming a patchwork of fields or thick swirls of indigo forming for movement in the sky. Today, our view of the British landscape in fine art is formed by many visual interpretations throughout history, culminating in a more liberated expression of the land and its natural beauty.

Above: The Ford by Robert Polhill Bevan (1918-1919) and The Moelwyns from Llan Ffestiniog by James Dickson Innes (1912-1913)

How to Care for an Oil Painting 

Caring for an antique painting requires an understanding of the environment it is displayed in. To make sure your painting retains its stability and quality, avoid placing it in rooms that will have large fluctuations in temperature or humidity. 

Try not to place paintings above heat sources like radiators or fireplaces, as this may induce cracking on the surface. Similarly, avoid areas that receive a lot of strong and direct sunlight. Humid areas like bathrooms and kitchens should be avoided and exterior walls should be checked for damp and any lack of insulation throughout each season.

Above: a landscape painting halfway through a varnish removal in our studio

Always examine the frame before displaying an artwork, especially if it is large and heavy. A stable frame will help to prevent damage to the painting. Any issues with a frame may lead to problems for the artwork, such as edge abrasions from unstable joins or causing the painting to wall from height due to weak hanging apparatus. If required, our conservators can restore frames as well as the painting. 

If a painting is discoloured, avoid cleaning it yourself. Most discolouration sits within the varnish layer and this can only be removed with a tested solution. Each artwork is different, so our conservators need to test the sensitivity of the paint layer to establish the safest method. Using a liquid to clean a painting at home may cause embedded moisture in the varnish and abrasions to the surface.

How to Restore an Oil Painting 

The restoration process for oil paintings begins with a full assessment of the condition. Our conservators examine all areas and undertake a series of tests. They also photograph the painting under different lighting conditions to check for historic repairs, alterations and the texture of the surface. This forms part of the overall documentation, recording the treatment plan and findings before they begin.

Above: our conservator Sophie working on paintings of the Scottish highlands

Most paintings require a sensitive surface clean before they have further treatment, this avoids embedding any contaminants during the rest of the process. If needed, the varnish is removed with a tested solution. Varnish removal is usually due to discolouration or to allow for a much more accurate finish when repairing a torn canvas or split panel.

Tear repairs are completed thread-by-thread under a microscope. This is important as it allows our conservators to approach each repair with as little intervention as possible – allowing the artwork to maintain its historic and artistic integrity. 

Cracked paint is carefully re-adhered to the surface using a heat method or through the injection of conservation-grade adhesives. Any missing paint can be sensitively filled and retouched using colour-matched pigments. All conservation work is ethical, that means that it is reversible – allowing future historians and conservators to know the difference between the hand of the artist and the hand of restoration when they inspect it under technical photography.

Contact Our Team

As part of our service we offer a nationwide collection and delivery service as well as information on worldwide shipping to our studio. E-mail us via [email protected] or call 0207 112 7576 for more information.