ties and possibilities of landscape painting" and displaying
exacting "attention to the meteorological conditions of the
British countryside."
There seems to be brilliant clarity to these British land-
scapes; the color is stronger, the composition more
balanced, the vision more spectacular. Exquisitely wrought
"Snowdon from Llyn Nantlle," c. 1765-66, is shorn of any
metaphorical distraction and acutely observant of the un-
trammeled beauty of a lordly peak reaching heavenward
beyond the pellucid blue water of a placid lake. Wilson is a
good guest of Mother Nature: he stands back and enjoys
what is offered, with no muss no fuss. It is not surprising
to learn that both Turner and Constable, stellar members
of a subsequent generation of British landscape painters,
were profound admirers of his work.
Richard Wilson's Wilton House from the Southeast
HYLAND
