David Thompson calls to our attention yet another outbreak of problematic racist white supremacy in … landscape paintings?
Hampstead Heath by John Constable, 1820.
Above, John Constable’s Hampstead Heath, circa 1820. Beware its morally corrupting influence.
The problem, we’re told, is that paintings from the eighteenth and nineteenth centuries are “leaving very little room for representations of people of colour”. And obviously, even the past must be made “inclusive and representative”. Which seems to mean that we must all pretend that our islands’ population and cultural assumptions have always looked like those of, say, twenty-first century London, a city whose demographics bear little relationship to those of the country as a whole, even in the twenty-first century.
It occurs to me that notions of racial “representation” will likely be distorted by the embrace of rather parochial progressive conceits, and by proximity to the nation’s capital, which in my lifetime has gone from a native white-majority city, over 90%, to a native white-minority one, around 35%, and which is wildly out of step with the rest of the nation. Things that are denounced as “horribly white”, or whatever the current term of disapproval is, may not seem so to people who live in, say, Chesterfield or Plymouth.
But apparently, museum visitors must be warned that the sight of a Constable landscape may trigger TERRIFYING BLOOD AND SOIL TENDENCIES. Or at least inspire thoughts of historical attachment, continuity, and belonging – thoughts that may be disconcerting or very much frowned upon, if only by the – wait for it – keepers of our heritage.
No doubt, soon they’ll be having public burnings of “racist” art.
Comment by MBlanc46 — March 17, 2024 @ 13:04
It would be surprising, except the virtual eradication of public smoking among the “elites” means none of them carry matches or lighters …
Comment by Nicholas — March 18, 2024 @ 13:18