Harewood House, with its impressive history and classic English beauty, is a magnificent place to visit in Leeds, west Yorkshire. The house frequently hosts remarkable exhibitions and cultural events devoted to art, poetry and history.
This time, its doors are open for a new exhibition Austen and Turner: A Country House Encounter, which marks the 250th anniversaries of the landscape painter J.M.W. Turner and the novelist Jane Austen.
The anniversaries have presented an opportunity for the co-curators of Harewood House Trust and the Centre for Eighteenth Century Studies at the University of York to unite the incredible works of two outstanding personalities of the Regency era.
Their masterpieces reflect their common engagement with the cultural and societal significance of British country houses and their landscapes. Though the pair seem to have never met, the expressiveness of Turner’s paintings are complemented by the literary richness of Austen’s manuscripts.
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The exhibition creatively highlights the common threads within Austen and Turner’s work through shared themes. The first is Austen Meets Turner, which explores how Austen and Turner’s interests and experiences intersected in the country estates that inspired their works.
I was especially struck by Harewood House from the North East (1797). Turner captured the magnificent building with such softness and light. The painting makes the landscape feel peaceful and alive, showing his ability to transform a real place into something almost dreamlike.
It highlights the grandeur of the landed aristocracy of the time, symbolising wealth, influence and a strong social hierarchy that was rooted in land ownership. Austen also used houses as symbols of status and wealth in her novels. Pemberley in Pride and Prejudice (1813), for example, reflects the class, riches and style of the love interest, Mr Darcy.
Another theme that attracted my attention was Encounters with Austen and Turner, located at the heart of the Harewood House library. Here, among the letters is another of his well-known paintings, Harewood Castle from the South East (1798). A visit to the exhibition can be complemented by a short walk to the real castle ruins in the Harewood grounds.
You just cannot take your eyes off this painting. Turner captures the ruin bathed in soft, natural light, blending the architectural detail of the castle with the surrounding pastoral landscape. His delicate use of colour and atmospheric perspective evokes a sense of romantic nostalgia, highlighting the harmony between human history and nature – a key feature of his style.
Objects of genius
The theme Interior Worlds deserves special attention. It is especially engaging because it offers the opportunity to feel the presence of Austen and Turner through the very objects that once made them famous.
Turner’s travelling watercolour box from 1842, for example, was made by the artist using two cards attached to a linen cloth. It was designed to hold a new kind of watercolour block, variations of which are still manufactured today.
Another such item is the original handwritten version of Austen’s unfinished novel Sanditon, penned during the last months of her life in 1817.
A first edition of Sense and Sensibility is also on show, with a fascinating explanation of the history behind its creation. Originally titled Elinor and Marianne and written in 1795, it was intended to be a novel in letters. But Austen later revised the text, and the version as we know it was published anonymously in 1811.
Finally, a collection of period costumes from Austen adaptations makes this exhibition truly memorable. An impressive collection of costumes from Sense and Sensibility (1995), Pride and Prejudice (1995) and Emma (2020) are on display.
Each garment reflects the elegance and social nuance of the Regency era, bringing Austen’s characters vividly to life. The craftsmanship and historical detail in the costumes evoke a sense of timeless charm that deepen the viewer’s connection to the novels.
This incredible exhibition is sure to move everyone who really wishes to engage with the high art and experience the historical spirit of the Regency era.
Oksana Hubina works at the School of English, University of Leeds. She receives funding from the British Academy in the field of the humanities.
This article was originally published on The Conversation. Read the original article.
