AbstractThis article considers how depictions of the migrant poor in English landscape art changed between 1740 and 1900. A painting by Edward Haytley (1744) is used to illustrate some prevailing themes and representations of the rural poor in the early eighteenth century, with the labouring poor being shown ‘in their place’ socially and spatially. This is then contrasted with the signs of a restless and migrant poor which appear in a few of Gainsborough's paintings, culminating in the poverty-stricken roadside, mobile, vagrant and sometimes gypsy poor who are so salient and sympathetically depicted in George Morland's work between 1790 and 1804. While there were clearly British and European precedents for such imagery long before this period, it is argued here that English landscape art after about 1750, and especially from c. 1790, witnessed a marked upsurge of such restless and migrant imagery, which was related to institutional and demographic transformations in agrarian societies. By George Morland's death in 1804, ‘social realism’ had become firmly established in his imagery of the migrant poor, and this long predated the 1860s and 1870s which are normally associated with such a movement in British painting.
