The British Landscape 1920-1950

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The youngest photographer on this list is 24-year-old Jake Guzman. He has become established in a short amount of time due to his unique style. One aspect of the new style was making woodland more interesting and ornamental, leading to the establishment of the woodland garden as a distinct type. This took several forms, one of which was helped by the developing Gothic revival. Horace Walpole, a great promoter of the English landscape garden style, praised Painshill in Surrey, whose varied features included a shrubbery with American plants, and a sloping "Alpine Valley" of conifers, as one of the best of the new style of "forest or savage gardens". [19] This was a style of woodland aiming at the sublime, a newly-fashionable concept in literature and the arts, or at the least to be picturesque, another new term. It really required steep slopes, even if not very high, along which paths could be made revealing dramatic views, by which contemporary viewers who had read Gothic novels like Walpole's The Castle of Otranto (1764) were very ready to be impressed. [20]

As an official war artist, Piper created some of his most sombre and vital works recording the damage sustained by historic buildings and monuments. During the 1940s his work evolved to embrace a style of painting informed by artists of the romantic era including JMW Turner that retained many of the visual innovations developed in his 1930s abstract period. After the war, Piper received many public and applied arts commissions. Of all of these, his major stained glass window designs including for Liverpool Metropolitan Cathedral had the closest relationship with his painterly practice, signalling the productive convergence of his interests in art, architecture, the church, and the regeneration of heritage traditions in the modern era. The appropriate style of garden buildings was Gothic rather than Neoclassical, and exotic planting was more likely to be evergreen conifers rather than flowering plants, replacing "the charm of bright, pleasant scenery in favour of the dark and rugged, gloomy and dramatic". [21] A leading example of the style was Studley Royal in North Yorkshire, which had the great advantage, at what was known as "The Surprise View", of suddenly revealing a distant view from above of the impressive ruins of Fountains Abbey. [22] Laird, Mark (1999). The flowering of the landscape garden: English pleasure grounds, 1720-1800 . University of Pennsylvania Press. ISBN 9780812234572 . Retrieved March 16, 2012. ISBN 081223457X Detail from Thomas Gainsborough's Romantic Landscape, c1783. Photograph: Prudence Cuming Associates Ltd/Royal Academy of Arts, LondonPorthleven Peter Lanyon Tate Gallery St Ives Cornwall”by rodtuk is licensed under CC BY-NC-SA 2.0 JMW Turner Chang, Elizabeth Hope (2010). Britain's Chinese eye: Literature, empire, and aesthetics in nineteenth-century Britain. Stanford: Stanford University Press. p.18. ISBN 978-0-8047-5945-8.

A second style of English garden, which became popular during the 20th century in France and northern Europe, is based on the style of the late 19th-century English cottage garden, [33] with abundant mixed planting of flowers, intended to appear largely unplanned.

Shore continues to be one of the most inspirational landscape photographers to this day. His work has set the standard for large format photography.