C. Brown

19th century English landscape with trees, a Harvest Field during Summertime

circa 1860

Archer was born at Newcastle-upon-Tyne, in 1808. In 1820 he went to London, and became a pupil of John Scott, a noted engraver of animals. His apprenticeship was cut short when Scott became ill, and he returned to Newcastle. There, in collaboration with William Collard he etched a series of large plates of Fountains Abbey, after drawings by John Wilson Carmichael, and on his own produced several plates for Mackenzie's History of Durham. He then moved to Edinburgh, where he made a collection of drawings of the ancient buildings and streets of the city. In about 1830 he returned to London, and entered the studio of the engravers William and Edward Finden, who were then working on illustrations for the annuals and such publications as their Bible Illustrations, and The Ports and Harbours of Great Britain. After a few years the market for this kind of illustration declined, and Archer had to find less renumerative work engraving plates for the New Sporting Magazine. Having been elected a member of the New Society of Painters in Water Colours, he produced a series of drawings of St. Mary Overy, previous to its restoration, and of Lambeth Palace. Having accumulated more than one hundred drawings of London...

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My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

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