The Pre-Raphaelite principle of ‘truth to nature’ encouraged the artists to take nature as their teacher. Critic John Ruskin argued that truth, beauty and religion are inextricably bound. In Modern Painters he advised artists ‘to go to nature in all singleness of heart … rejecting nothing, selecting nothing and scorning nothing’. In pursuit of accuracy the Pre-Raphaelites often painted outdoors, en plein air, later reworking canvases in their studios. This approach to landscape is linked with new scientific ideas and the rise of new disciplines in the nineteenth century: theories of evolution, geology, botany and meteorology all play a part.

The convenience offered by new modes of transport and the rise of mass tourism were also key. Many artists travelled throughout Britain, often rediscovering sites of ancient origin. Italy was a great source of inspiration and artists such as Thomas Seddon and William Holman Hunt journeyed to the Middle East, seeking authenticity for their representation of Biblical narratives. The choice of landscapes and subject matter was as important its manner of treatment: animals, flowers, seascapes, clouds and sky suggest metaphorical and spiritual meanings.