This dreamlike pastoral brings to mind the delicate landscapes of Camille Corot, such as The bent tree c 1855–60 (NGV). It has the enveloping silvery glow and softening of edges used by Corot in order to render his scenes evocative. And, like the French master, Long animated his landscape with figures that have been reduced to a small size.

Pastoral is the watercolour on which Lionel Lindsay based his 1918 softground etching, Pastoral (cat 114). The number, '263A', inscribed on the back of this watercolour indicates it is a work that Long sent to Australia in 1917. This would have enabled Lindsay to view it well before April 1918, when Long first mentioned that Lindsay had based an etching on one of his watercolours.

Even allowing for the difference between watercolour and etching, the watercolour has a far greater subtlety and sensitivity. Where the edges of the watercolour are soft, those of the print are harsh; and where trees in the watercolour seem to be alive, those in the print seem ‘decorative’; and where the moon in the watercolour hovers subtly over the water, that detail in the print does not have the same delicacy.

Long’s own prints, such as Pastoral softground (cat 69), capture the subtleties of his watercolours far more sensitively than Lindsay was able to do. Nonetheless, Long must have been sufficiently satisfied with Lindsay’s etching to be willing – at a later stage – to co-sign it with him.

Formerly known as ‘Pastoral landscape’, this work has been retitled on the basis of the inscription 'Pastoral' on the back of the watercolour.

This dreamlike pastoral brings to mind the delicate landscapes of Camille Corot, such as The bent tree c 1855–60 (NGV). It has the enveloping silvery glow and softening of edges used by Corot in order to render his scenes evocative. And, like the French master, Long animated his landscape with figures that have been reduced to a small size.

Pastoral is the watercolour on which Lionel Lindsay based his 1918 softground etching, Pastoral (cat 114). The number, '263A', inscribed on the back of this watercolour indicates it is a work that Long sent to Australia in 1917. This would have enabled Lindsay to view it well before April 1918, when Long first mentioned that Lindsay had based an etching on one of his watercolours.

Even allowing for the difference between watercolour and etching, the watercolour has a far greater subtlety and sensitivity. Where the edges of the watercolour are soft, those of the print are harsh; and where trees in the watercolour seem to be alive, those in the print seem ‘decorative’; and where the moon in the watercolour hovers subtly over the water, that detail in the print does not have the same delicacy.

Long’s own prints, such as Pastoral softground (cat 69), capture the subtleties of his watercolours far more sensitively than Lindsay was able to do. Nonetheless, Long must have been sufficiently satisfied with Lindsay’s etching to be willing – at a later stage – to co-sign it with him.

Formerly known as ‘Pastoral landscape’, this work has been retitled on the basis of the inscription 'Pastoral' on the back of the watercolour.