Published on March 16, 2024, 1:12 am

An England-based art museum known as The Fitzwilliam Museum has issued an alert to its visitors that certain images of the British countryside depicted in paintings might invoke potentially “dark,” “nationalist feelings.” The museum, which is under the stewardship of the University of Cambridge, has made significant adjustments to several displays, according to museum director Luke Syson.

Syson insists that these changes are not indicative of adopting a ‘woke’ mindset. “It’s my hope that we can narrate these wider, more inclusive histories without instigating a push-back from those who construe any interest in this work as embracing what is labelled as ‘woke’,” Syson said.

As part of making the museum more “inclusive,” several paintings have seen their placements altered across different categories. Syson explained, “Working towards inclusivity and representation should not be contentious; instead, it should add value.”

One such noteworthy alteration has taken place in the Nature Gallery. A signage accompanying John Constable’s paintings – known for his exquisite depictions of English hills – asserts that his artwork can spark feelings of “pride towards a homeland.”

Subsequently, another signage description conveys how “Landscape paintings were also invariably intertwined with national identity,” suggesting that such artwork reinforces loyalty and pride towards one’s homeland. However, another facet addressed by the info board throws light on a possible pitfall: it hints at a “darker side” associated with evoking these strong sentiments of nationalism. It cautions that such nationalist undertones could potentially imply only those bearing historical ties to the land rightfully belong there.

Delving into Constable’s body of work reveals his fame largely stems from capturing landscapes depicting Suffolk’s stunning English scenery. Fascinatingly enough though, while popular today, his artwork wasn’t especially well received within his lifetime on home soil in England, London’s National Gallery remarked.

Meanwhile, another sector within The Fitzwilliam Museum called the Identity Gallery, informs patrons about how portraits featuring well-heeled subjects in uniforms essentially worked to fortify the social order of a predominantly white ruling faction. It also subliminally sidelined representations of people from diverse ethnicities, working classes, and other marginalized sections of society.

The narrative further informs visitors about how these portraits often bore complex ties with certain historical occurrences. These include British imperialism along with the institution of transatlantic slavery. Lastly, in yet another section called the Migration and Movement gallery, signage delineates that while some individuals willingly migrated away from their homelands due to assorted reasons; others found themselves forcibly displaced either due to war, bias or European colonialism.