The woman was last seen wearing a grey tracksuit top and bottoms

Police are searching for a missing 33-year-old who is now believed to be in Cambridgeshire. Police said that Harley, 33, was reported missing from the Ingoldmells area in Lincolnshire but investigators now believe she may be in the Peterborough area.

Harley was last seen wearing a grey tracksuit top and bottoms. Lincolnshire Police has asked the public to report any useful information regarding Harley’s whereabouts. The force said it is “keen to locate her as soon as” it can.

Anyone who believes they have information that could help is urged to call 101 quoting the incident number 130 of June 2, 2026.

Marcus Rashford hoped to make his temporary move to Barcelona permanent this summer but it’s looking more unlikely than ever.

And so the Marcus Rashford saga continues.

Manchester United thought they had struck a deal with Barcelona last summer that would signal the end of Rashford’s Old Trafford career. A £26million option to buy was included in the loan deal that took Rashford to the Nou Camp, and with 14 goals and 14 assists for the La Liga giants last season he looked set to secure his dream move to Spain.

And then they went and splashed £69m on Anthony Gordon and threw the whole thing back up in the air.

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Barca have until 15 June to make Rashford’s move permanent, but they’re doing a fine job of keeping their excitement under wraps if they are keen on doing so.

United have always insisted they would move on should Barcelona refuse to pay the agreed fee, with no room for negotiations or talk of another loan deal set to be entertained. The problem United have is: if not Barca then where?

A decent showing at this summer’s World Cup will improve United’s chances of moving him on, but shifting a player who earns £325,000-per-week is never an easy task.

If United can’t offload Rashford this summer, would you be open to giving him another chance at Old Trafford? Or do you think too many bridges have been burnt to see him back in a United shirt?

Have your say in the poll below:

Italian Antonelli, 19, has won four races in a row, while Russell’s only grand prix victory this year was in the season-opening race in Australia.

Russell, 28, did win the sprint events in China and Canada.

He has bemoaned a series of events going against him – including technical issues in qualifying in China, a safety-car intervention in Japan that handed the lead to Antonelli and the Canada problems – but says he has no reason to feel he cannot bounce back.

“I don’t feel like I need to get every single result possible, because the season’s long enough that over the course of the season, it will swing if you’re the guy who’s on top.

“So I just need to continue being the guy who’s coming out on top, even if he’s the one at the moment who’s getting the results.”

Russell said that his retirement in Canada “hurts” but added: “That’s just the way racing goes.”

And he pointed to his own junior career as a reason to stay positive.

“In Formula 2 (in 2018), I had, I think, five failures over the course of a year,” he said.

“I came to Monaco, never been to Monaco before, and I broke down on the out lap in practice. And then went into qualifying, 15-minute session, four laps, and didn’t qualify anywhere decent.

“I broke down on other occasions. The engine stalled, but then still went on over the course of a year to win the championship.

“So I take inspiration from those moments. And I think for everyone every year, you have a run of races where, I don’t know why or how, everything just goes your way.

“And that’s just how it goes sometimes when things turn. It’s just a mentality I’ve got. I’m in a very good head space. The pressure feels off now. And there’s just a huge amount of time to go.”

Flight LH450 from Frankfurt to Los Angeles, which was due to take off at 13.50pm CEST (12.50pm BST) today, has been cancelled following the incident.

The Dreamliner, registration D-ABPQ, sustained significant damage after nosediving onto the runway while it was at the gate, Frankfurter Rundschau reports.

​Reform’s Cllr Thomas Murray, the town mayor of Scarborough, has said he is not fundamentally opposed to fracking, just weeks after plans for a controversial gas drilling rig near the town were refused by members of North Yorkshire Council.

​Local campaign group Frack Free Coastal Communities described the mayor’s comments as “absurd”.

​The Reform-led Scarborough Town Council voted last year unanimously to oppose Europa Oil & Gas’ plan for a 38m gas rig in the village of Burniston and expressed its “full and unwavering support for local residents in their opposition to the proposed fracking-style hydrocarbon development”.

​Europa’s plan proposed the use of a proppant squeeze method that has been likened to “small-scale fracking” and is allowed under current legislation. The company said it will appeal the refusal.

​Reform UK has said it would lift a ban on fracking which was introduced due to concerns about earthquakes and environmental impacts.

​“As a town council we voiced our opposition to [Europa’s proposal] in Burniston, on the basis that it didn’t have the community behind it and it was causing undue anxiety and stress for homeowners,” Cllr Murray said.

Asked how the town council’s stance squared with national Reform UK policy, Cllr Murray said: “If you look at Reform’s policy, it is with local consent and on that basis, that proposal in Burniston didn’t have local consent.”

​He told the Local Democracy Reporting Service (LDRS): “It was really close to the town. I would say, if it was out further away from society, where it is not going to affect the local community, then frack ahead.”

​More than 1,600 objections were submitted against the plan by residents, local MP Alison Hume, parish councils including Burniston, Cloughton, Newby & Scalby and Scarborough town councils, and Friends of the Earth, among others.

​Professor Chris Garforth, Chair of Frack Free Coastal Communities’ steering committee, said the group appreciated the stance that Scarborough Town Council took in opposing the planning application by Europa Oil & Gas “despite the party’s national policy stance in favour of fracking”.

​He said: “They joined the local coastal parish and town councils to present a unified opposition that North Yorkshire’s strategic planning committee could not ignore.”

Prof Garforth described the town mayor’s comments as “a valiant attempt to square that stance with the national party line”.

​He said: “However, the idea that in this country there are oil and gas reserves in places which are ‘out further away from society, where [fracking] is not going to affect the local community’ is absurd.

​“All the areas where exploration licences are still in play and where companies are eyeing up the prospects if a pro-fracking government were ever to come to power are close to communities whose lives would be turned upside down if they get the go-ahead.”

Anti Fracking Protest March In Burniston. Courtesy Numminen/LDRS

​The proposed gas rig near Burniston and the North York Moors National Park had been recommended for approval by North Yorkshire Council, which said there were “no material planning considerations that warrant its refusal”, adding “there would be no unacceptable adverse environmental impacts resulting from the proposed development”.

​Europa said its scheme would be beneficial to the local economy and maintains that there is no ‘loophole’ in the moratorium on fracking.

​The campaign group FFCC said it remained focussed on ensuring that “drilling and fracking for gas at Burniston does not happen. That will include contesting the appeal against planning refusal that Europa have said they are considering.”

Wellbore Illustration. Europa Oil And Gas

​Prof Garforth added that the campaign group was “firmly against fracking in all its forms, anywhere”.

​“Fracking is being pushed by oil and gas companies to squeeze more and more climate-wrecking fossil fuels from the rocks beneath the UK. The science is clear – this will simply accelerate our descent to environmental, economic and societal disaster. We should be investing in a more rapid transition to renewable energy.”

​

​

Walk My World takes this story and puts it into a strange new mechanised future world, where gods, mortals, and strange creatures from mythology surround you, including fearsome demigods from the underworld. In this world woven with power games of gods, intrigue, deceit, and love, anything can happen, but the crucial thing is it’s entirely up to you to decide where to go, what to discover, whom to follow, whose secret room you peep into and whether you take a sip of the potion left on the table in one of the steamy rooms.

The world’s favourite air combat simulator returns for another sortie, with a very modern take on aerial warfare and the fog (and clouds) of war.

With Red Dead Redemption 2 recently becoming the third best-selling video game of all-time it’s a constant frustration that video game sales figures are given out so inconsistently, because finding out that 2019’s Ace Combat 7 has sold a nominatively appropriate 7.5 million copies is something of a revelation. In retrospect, we’re not sure what we expected but it proves that, despite our fears, Ace Combat, and combat flight sims in general, are not quite the niche concern we assumed them to be.

Ace Combat 8: Wings Of Theve was announced in 2021 and got its first reveal at The Game Awards in 2025. We got to play several hours of the new game last month and spoke to brand director Kazutoki Kono and Ace Combat 8 producer Manabu Shimomoto. We’d met them before, prior to the launch of Ace Combat 7, and it’s interesting that despite the series’ continued success it still has no peers or rivals.

In the genre, the only thing that’s really happened in that time is that VR has fallen out of fashion – which is a real shame, as Ace Combat 7 had a fantastic VR mode – and Microsoft Flight Simulator has raised the profile of flight sims in general. Ace Combat has very little in common with that though, as while it’s a hardcore simulator, with little in the way of traditional gameplay, Ace Combat 8 is primarily an action game.

Ace Combat celebrated its 30th anniversary last year, although its lineage stretches back a few years before that, to the Air Combat series of arcade games. The modern games have three main staples: a highly complex backstory, set in an alternative world with similar but slightly more sci-fi technology; excellent graphics and a reasonable degree of realism; and amazing soundtracks.

All three elements were present and correct in Ace Combat 8, which once again takes place in the world of Strangereal. Although it is an ongoing story you don’t need to know anything beforehand, as the set-up is fairly straightforward: your homeland has been invaded and you’re part of one of the only fighting forces left, aboard a wandering aircraft carrier.

The twist is that, in the first mission you take on the callsign of Rex, a legendary fighter pilot who turns out to be a complete fabrication, used to improve morale, with the previous incumbent being a total washout. Nevertheless, you accept the role and become the *Wings of Theve* (Theve being your capital city), ready to take on the war’s most dangerous missions.

Bandai Namco is careful not to call Ace Combat a simulation, although we’re not sure whether that’s because they’re being modest about its level of realism or because they don’t want to put people off. Depending on the difficulty level you choose, you have far more in the way of ammo than you would in reality, and the game makes sharp turns easier, but otherwise it’s relatively realistic, including the danger of stalling. You can survive some mid-air collisions but if you hit a mountain or ditch into the sea, that’s it.

Naturally, things start off fairly simple and the controls are really no more complex than any other first or third person shooter (you have the option of either view). Standard air-to-air missiles require a lock-on but are not guaranteed to hit unless you catch the enemy dead to rights. Equally, while you do have a limited amount of chaff and flares it’s relatively easy to dodge incoming missiles if you keep an eye on the radar and turn sharply as they close.

Although the combat is enormously enjoyable, and the graphics almost photorealistic at times (with none of the inconsistency or reliance on streaming seen in Microsoft Flight Simulator), the real magic in Ace Combat is making the missions varied enough that you never get tired of it.

We played more missions than we’re allowed to talk about, but things start off as you’d imagine, with some simple dogfights, but this quickly evolves into land battles as well, where you use ground-to-air missiles and bombs to take out targets and, in one memorable early mission, a fleet of ships. This is best achieved with specialised anti-ship missiles, which you have a much more limited supply of, as you swoop around an island, trying to take them out before they escape, but while still fending off defending fighters.

The visuals throughout all this are stunning and while we found the first person view (with cockpit turned off) the most practical, the game records everything as you go and you can watch the whole mission as a replay when you’re done, complete with Top Gun style cinematic camera angles and some amazing rain and cloud effects.

The latter is apparently the result of a lot of hard work, with a specially designed graphics engine called Cloudy that has been added to Unreal Engine. The benefit of this is highlighted in one mission where you’re chasing implausibly gigantic flying wings but where your radar doesn’t work at long range. Instead, you have to follow contrails in the sky and pass through angry thunderclouds that threaten to destroy your electronics.

That mission is relatively easy, especially if you use the wingman controls to make sure everyone zeroes in on the same giant plane once you find it – and protects you from fighters while you’re looking for the others. There’s also a range of special weapons you can choose before you start, the most tempting being a limited use weapon that lets you lock on and fire up to four missiles at once, like you’re playing After Burner.

You can also pick which plane you pilot before you start, which has a big effect on how a mission plays out. Despite the fantasy world of Strangereal, all of the planes are real world fighters, although they all have to be unlocked from what is essentially a skill tree, using earned in-game currency. But as long as you’ve got that you can make sensible choices, like using a F-14D for air combat missions and an A-10C Thunderbolt II against land targets.

In the most extreme example of the game’s near future sci-fi element this includes a gigantic ‘land battleship’ which is treated entirely seriously and can only be taken out by following a complex plan, involving destroying its caterpillar tracks by exposing side panels for a brief window of opportunity, provided by bomb trucks on the ground and by collapsing skyscrapers into its path.

Everything about what we played of the game was impressive, with one exception. The developers made a point of saying that the storytelling and dialogue is less anime influenced than before, and more grounded, but while that’s true it’s still very clunky and awkward. It wouldn’t matter much but all your wingmates, and other allies and enemies, are constantly talking.

Some of it furthers the story but a lot of it is just meant to be immersive chatter. Even that would be fine, except the game is surprisingly reserved about pointing out mission objectives and how the battlefield situation changes over the course of a mission. Your wingmates don’t do nearly enough to help provide helpful information and even when they do say something useful it can get lost in the background noise.

It was only a minor problem during the preview though and will likely become even less of an issue once you get used to it in the main game. It’s certainly not enough to ruin what seems to be another welcome entry in the most accessible, enjoyable, and commercially successful combat flight sim on the market.

Formats: PC (previewed), PlayStation5 and Xbox Series X/S
Publisher: Bandai Namco
Developer: Bandai Namco Aces
Release Date: 2026

GC: I’m sure you don’t remember but I met you both before, eight years ago at Gamescom.

KK: There was only once that we travelled together to Gamescom, that was Ace Combat 7. That must’ve been when we met.

GC: So much has happened in the world, and in the games industry, since then. I’m curious, how have those many changes influenced you and Ace Combat 8?

MS: First of all, the universe of Ace Combat is set in this Strangereal fictional world. We take great care in making everything seem believable, but everything is based on prediction of the near future. But it’s not set in the real world, it’s very much fictional.

The production started in 2020 and we had predicted the near future at the time but the truth is, coincidentally, the current world seems to have mirrored what was predicted.

KK: With Ace Combat 8, what is depicted is very much a prediction of near future technology or information that is likely to be available very soon. But one of the elements that I have a real-life concern about is social media, because with what is currently happening it is very difficult to tell what information is true or false.

That creates a lot of confusion in that sphere and similar things are mirrored in Ace Combat 8. There is a presence – Fake Wings, that you may be yet to come across – where information regarding that is affected by the people and there are reactions against that as well. So there is that sense of information manipulation, that is depicted here.

GC: I’ve always assumed that the sci-fi elements in the game were purely to add variety and keep things unpredictable, but the future seems to be catching up very quickly, with things I never expected to see in my lifetime. How has that affected how you approach this new game and the series in general?

KK: The sci-fi element being utilised for gameplay hasn’t really changed and won’t change in the future. It is a motif to enhance the gameplay but in the Ace Combat series, because the visuals and aesthetic elements have really advanced and keep advancing.

Even though the gameplay is very enjoyable, if nothing looks realistic, visually, there is going to be a dissonance for the players. So the technologies, visuals, and information all need to align, because we don’t really want to create a completely removed fantasy world that seems unreal.

Things feeling and looking realistic is very important. So if we were to put a priority order, gameplay is most important but second is a believable sense of Strangereal, to create immediacy for the players, is very important as well.

But we don’t anticipate a great land battleship to attack a city anytime soon.

GC: Well, not this year anyway.

Both: [laughs]

KK: But that really shows that gameplay is at the forefront for us.

GC: You were wise to set the series in this alternative reality, as it’s quite disquieting to think about what all these vehicles and weapons are being used for in real-life at the moment. It’s not something a lot of people would want to celebrate and yet flying a jet fighter is undeniably fun. Nevertheless, I’ve always seen the series as having an anti-war theme, is that how you see it?

MS: This goes back to what we were discussing earlier on, about the great acceleration in the speed of advancement in the sci-fi elements and real-life technology. For example, with Ace Combat 7 drones were heavily featured but at the time it wasn’t really in our day-to-day life.

GC: Yes, that seems the perfect example.

MS: But it became real-life quite quickly. So similar things happened with Ace Combat 8 as well. At the time of the production stages it was seen as something that was out of reach and near future, but coincidentally the timing just seemed to converge.

Just as a foundation, the team is creating an entertainment product, so a sense of fun is extremely important for the players. But to really bring that onto the realistic level… to make it a lot more accessible and to make it even more enjoyable, we do create a universe that is very in-depth in detail and we do take that role quite seriously. We do really go into the details in this process of layering the story, so it’s actually great that you are asking these questions, as it shows that there is a thirst for this type of element.

GC: 7.5 million is not a niche franchise and yet there’s very few games like Ace Combat. Do you feel that customers are being underestimated in terms of what effort they’re willing to put into a game, in terms of complicated or unusual controls and concepts?

KK: In 2026 there are a surprising number of flight shooter games within the industry. So this genre seems to be thriving, especially in the independent games sector. So Ace Combat will always be at the top but it’s actually great that it’s a very active genre.

This franchise is based on a 30 year legacy and there is that core element of the players going through many different challenges to become the ace pilot. So there is a hero creation element. The perspective and angle is slightly different to a simple flight shooter; it’s very difficult to replicate for the other publishers.

GC: I wonder if Microsoft Flight Simulator has helped to raise the profile of flight sims in general, even though it’s not a shooter?

MS: Well, Microsoft Flight Simulator is a simulator, so the core focus is different to Ace Combat, because Ace Combat provides a flight shooter experience in really living through this journey of becoming an ace pilot, so there is a strong narrative attached to it – so the outcome is completely different, so therefore it tends to attract different demographics.

GC: Why is the music always so good in Ace Combat? Why do you make that a priority? It’s unfortunate it doesn’t seem to get much acknowledgement. I nominated it for The Game Awards, but I don’t think Ace Combat 7 even got through to the final stage that year.

Both: [laughs]

KK: The composers that we work with are greatly skilled in creating these melodious grand scale scores. And the songs too, fit perfectly in time with the ace pilot experience. When it’s flying it really fits with the dynamism of what the player is experiencing. So there is that aspect.

But separately, I agree, the soundtracks of the Ace Combat series are extremely popular worldwide but it hasn’t really received that official recognition within The Game Awards. The sound creators have really worked hard for Ace Combat 8 and they are aiming to get that recognition.

GC: Just to end on something that we discussed at Gamescom, but I’m a big fan of simulations of fictional vehicles, such as combat space simulators and mech games. Considering how successful Ace Combat is, would you consider making a game based on something more fantastical? While maintaining your grounded style?

MS: Because the game feel of Ace Combat is very realistic we have been approached by various companies to create something similar, including the aviation industry. However, the reality is that Ace Combat team is not large and we are fairly limited in capacity. Therefore if we do opt to create something like that we won’t be able to proceed with future content for Ace Combat.

So there are a great number of fans who are looking for future instalments and first and foremost our focus is on providing the entertainment content, so we have no plans to create a simulator-esque title.

GC: My pipe dream of a Xevious space combat simulator is doomed…

Both: [laughs]

KK: Well, you have a role to play, David. If you write a great article and Ace Combat sales greatly increase then maybe we can increase the number of projects.

GC: OK, if you win that Game Awards music category, you must promise to make that game.

Both: [laughs]

MS: [in English] Thank you very much!

GC: Thank you very much for your time.

KK: Thank you.

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TikTok, Loose Women and I’m a Celebrity star GK’s new show is called It’s Giving Life

I’m a Celebrity and Loose Women star, GK Barry is coming to Cardiff with her new show. One of six dates across the UK in support of her new book, It’s Giving Life, the hugely popular social media sensation and TV personality will stop at New Theatre, Cardiff on Sunday, September 7.

Dubbed as “reckless and 100% unfiltered”, audiences are told to expect outrageous stories, brutally honest confessions, and the kind of chaotic commentary that made GK, real name Grace Eleanor Keeling, a household name.

The show description reads: “From dating disasters and digital drama to body image, sexuality, personal traumas and all the questionable decisions in between, nothing is off-limits.

“This is GK Barry at her finest. Live, unfiltered, and oversharing for the greater good of humanity. Come for the chaos. Stay for the laughs. Leave feeling better about your own life choices.”

From TikTok fame to becoming a breakout star on I’m a Celebrity…Get Me Out of Here! and a regular panelist on Loose Women, GK Barry has become one of the most influential and relatable young voices in British media.

With over six million followers across social media and a chart-topping podcast, Saving Grace, the 26-year-old’s rise has been speedy. Last weekend she made her Soccer Aid debut for England.

The internet star has become one of the UK’s most recognisable and beloved online personalities thanks to her viral videos, quick wit and completely unfiltered honesty.

Now she is turning her attention to sharing the hilarious realities behind the highlight reels with her forthcoming book, GK Barry: It’s Giving Life – A Guide To Surviving and Thriving. The book is released on September 3.

Get your tickets for her live shows, at www.ernestpromotions.com

Full tour dates for GK Barry:

• Tuesday, September 1 – Manchester, Albert Hall
• Wednesday, September 2 – London, Shepherds Bush Empire
• Thursday, September 3 – Brighton, Theatre Royal
• Saturday, September 5- Glasgow, Theatre Royal
• Sunday, September 6 – Liverpool, The Dome
• Monday, September 7 – Cardiff, New Theatre

Whether you take notice of the colour of your eggs or not, the supermarket is making the shift to help the environment.

The retailer will phase out brown eggs across all its own-brand lines after finding that white eggs have a 12.7% lower carbon footprint.

Sainsbury’s said white eggs support more sustainable customer choices (Image: Lewis Whyld/PA)

Sainsbury’s to cut sales of brown eggs

It said white eggs support more sustainable customer choices “while still maintaining the excellent taste, quality and nutrition they expect.”

Sainsbury’s said this is largely due to better feeding efficiency and the longer productive lifespan of white hens.

White hens are also less prone to feather pecking, leading to better animal welfare.

A Sainsbury’s spokeswoman said: “White eggs have the same delicious taste and nutritional benefits as their brown counterparts but result in lower carbon emissions and better welfare outcomes for the hens that lay them.

“White feathered hens typically live longer, eat less feed and lay eggs for longer, cutting carbon emissions by over 12% compared with hens that lay brown eggs.

“We know Brits love their eggs and, as we work with suppliers to transition all of our own brand to white shells, they can now enjoy them knowing they are better for the environment and the hens.”

What’s the difference between best before and use-by?

The supermarket said the move reflects its long-term UK food system goals and is an example of close supplier collaboration on sustainability.

Although white eggs are rarely seen on supermarket shelves, they are commonly used by restaurants.

Most white-shelled eggs are laid by breeds such as the white leghorn, which originated in Italy.

Recommended reading:

In recent years, UK supermarkets have begun exploring consumer demand for white eggs.

During the Covid-19 pandemic, Tesco stocked white eggs when panic buying led to a shortage of brown eggs.

Do you buy white or brown eggs? Tell us in the comments below.

The new exhibition of British landscapes at Pallant House Gallery in Chichester features 160 works by some 60 artists. These span from Thomas Gainsborough and the local Smith brothers in the 18th century to the inner-city wastelands of Prunella Clough in the 1990s.

Yet, in an exhibition drawn entirely drawn from Pallant House’s own collections, there are inevitable emphases and gaps. Scottish and Welsh artists are probably better represented than Scottish and Welsh landscapes.

Apart from a collage of Bolton in 1937 by Julian Trevelyan, made while assisting the early work of Mass Observation – a social research initiative that documented everyday life in British towns through writing, photography and visual records – the north of England is largely represented by wintry views of Wharfedale. The Midlands and East Anglia are equally underrepresented.

This exhibition is not about British, or even English landscapes, but about how a broad range of British artists responded to the landscapes they chose to depict.

The spirit of place

Entering the exhibition, I passed some striking works by Graham Sutherland and Edward Bawden. Bawden and Eric Ravilious are unsurprisingly well-represented in this show. Yet it jarred to be told that they moved into nearby Great Bardfield in 1932 “with their wives”. After all, Charlotte Bawden and Tirzah Garwood were themselves significant artists, albeit not of landscapes.

Happily, the same room includes Cumberland Landscape (Boothby) (1926) by Winifred Nicholson. She, alongside others including Barbara Hepworth and the Scottish artist Wilhelmina Barns-Graham, ensure that women’s contributions are represented.

À lire aussi :
How Yorkshire influenced the sculptures of Barbara Hepworth and Henry Moore

Yet the star of that room, and of the show, is Paul Nash. Nash’s intense relationship to landscape informs the subtitle to this exhibition (A Sense of Place), exploring as it does artistic endeavours to capture what Nash referred to as the genius loci (or the spirit of place).

That intensity had a more sombre side. A whole room is devoted to wood engraving and printmaking – an artform Nash and many of his contemporaries turned to after the first world war. The stark lines and contrasts of light and shade evoked the sense of place felt by Nash after his harrowing experiences as a war artist.

His powerful study of the battlefield, Void (1918), which depicts a battlefield stripped bare except for the debris of war, is displayed alongside his dark and shadowy Path into the Wood (1921). Nash’s accompanying text observes: “Before light came, black was. The void was darkness … Without hot shafts of sun or the moon’s radiance the world is not seen.”

What artists saw was a country transformed by war. They turned to the countryside for comfort, trying to capture its disappearing character and preserve a sense of what was being lost.

Six years after the founding of the Council for the Preservation of Rural England in 1926, Clare Leighton produced her homage to vanishing rural crafts in The Farmer’s Year: A Calendar of English Husbandry (1932). This took a society already becoming estranged from the land through the various seasonal activities of farming communities in exquisite detail. For me, her powerfully built ploughman was one of the highlights of the exhibition, conveying in his posture an intimate relationship with the land that we have increasingly lost.

Tellingly, Edward Wadsworth’s Ladle Slag: Old Hill 1 (1919) is almost the only depiction of the industrial Midlands. Before 1914, Wadsworth had been part of Vorticism – a movement that celebrated the energy, speed, and mechanical power of the modern industrial world. After the war, however, this enthusiasm gave way to a greater sensitivity to the human and environmental costs of industry.

Ironically, commerce was one of the drivers of this shift. Some of the most iconic of English scenes created by Bawden and others were book dust jackets. Even more significant in conveying an imaginary of a rural England well-stocked with beauty spots were the Shell Guides for the growing army of middle-class motorists. Nash was acutely aware of the tension between the tourism he, Sutherland and others encouraged by their contributions to these and the conservation of the England they valued.

Arguably it was in responding to these tensions and postwar uncertainties that a distinctive approach to landscape emerged.

Landscapes and national identity

Interwar British art continued to be influenced by Continental movements, such as surrealism, which Nash was drawn to in the 1930s. Yet it was a modernism tempered by a poignant and affectionate attempt to capture the essence of landscapes that seemed under threat. With few exceptions, capturing these landscapes required a muted palette, maybe because of the rainy weather of these islands.

In general, these landscapes all almost invariably reflected human presence. A staple of the English country scene is often a steeple, such as that seen in Walter Sickert’s Chagford Across Fields (1916), an unsettlingly peaceful scene contrasting with the contemporary slaughter on the Somme.

The works by Ravilious, in whom there has been such an upsurge in interest in recent years, include even more ancient evidence of human activity. His Cerne Abbas Giant (1939) is seen through barbed wire. It’s rendered in earth browns to reflect the way it was turfed over to prevent it acting as a landmark for the Luftwaffe.

Capturing the man-made nature of the English landscape means the term is interpreted elastically here to incorporate seascapes, skyscapes, gardens and what Clough called “urbscapes”. It is taken to include activities such as those illustrated in Edward Bouverie-Hoyton’s Hedging and Ditching (1926). While this shows how much of the landscape of southern England was manufactured, the paucity of postwar material means that the grubbing out of thousands of miles of hedgerows since 1945 goes unrecorded here.

Instead, the exhibition suggests that there was a shift towards abstraction. All landscapes are abstract collages of light, shade, form and colour from a distance. The particularities of a scene that had moved Ravilious became the blocks of pigment used by Ivon Hitchens in works such as Distant Light on Dark & Dark through Light (1968). This was not the depiction of a vista, but an emotional response to it.

In painting in this way, Hitchens was nonetheless still seeking to express the spirit of place that is the defining theme of this engrossing exhibition.

British Landscapes: A Sense of Place is at Pallant House Gallery in Chichester until November 1 2026.