Yesterday marked the beginning of an exhibition at
Tate Britain devoted to this history of watercolour in Britain. Often viewed less favourably than mediums such as oil painting and sculpture amongst buyers in the art market, this exhibition aims to chart the development of watercolour from the Middle Ages through to present day, and shed some new light on the matter.
There are around 200 works in the show from artists as diverse as JMW Turner, William Blake, Peter Doig, Anish Kapoor and Tracey Emin. Long thought to have reached its peak during the late eighteenth and early nineteenth century in the 'golden age' of British watercolour, the exhibition will prove that there is a greater history tailing back as far as medieval illuminated manuscripts.
Watercolour has often been looked down upon by the art elite because of it's more common and ubiquitous use. Being cheaper and more easily available than oils, watercolour has taken a role as a more democratic medium. That being said, watercolour is an extremely flexible medium that is used by amateur artists and professionals alike.
Watercolour is also notoriously portable and quick drying which has always made it usable for artists on the move and those who like to capture their subjects in the field. The exhibition makes good note of this, having great landscape works by Turner and battlefield scenes from the likes of Paul Nash.
In the run up to the exhibition, the Tate ran a debate on Twitter asking following to weigh in on their views of watercolour as a medium and whether it is a stuck as a traditional mode of painting or whether it can be a visionary medium. Thankfully, the consensus seemed to be that the medium was as relevant as ever and very much loved.
The exhibition is part of
The Great British Art Debate and is a HFL funded project. The show will run through until the 16th August this year.