and logical tradition, adopted by such masters as Constable, De Wint, and David Cox, which imposes upon all students of nature the obligation to observe shrewdly and to set down what they have observed with unhesitating individuality. He does not imitate his predecessors or formulate his practice in any unwise effort to reproduce their personal mannerisms and tricks of style; but he seeks, as they did, to see absolutely with his own eyes and by the frankest use of his own personality to give vitality and authority to his productions." "Mr Knight in his nomadic existence is a living protest against convention. The ordinary confinement of a studio would become impossible to a man so devotedly attached to his mistress – Nature. Whatever he does is on the spot and there only. He lives and paints in the open nine months out of the twelve, in all weathers, sunshine or storm, seeing and studying Nature in every visible mood." Within Sir Alfred Munnings’ autobiography there is a story of a bet that he had with the Director of Leeds City Art Gallery (which has 31 Buxton Knight paintings), whether Buxton Knight had painted ‘Ingleborough Hall, Yorkshire’ in the open air, which the Director did not think could be done. It transpired with Munnings tracking down a retired postman in the neighbouring village of Clapham, Yorkshire, who confirmed that he passed Buxton Knight daily, sat off the footpath working on the big painting. One day the postman took Buxton Knight a letter, which he opened there, saying it brought him bad news as the Royal Academy had not elected him as Associate. Munnings comments that it was "a story of the dashed hopes of one of our finest landscape-painters; a story reflecting little credit upon members of the Academy." Within Ann Galbally's book "A Remarkable Friendship – Vincent Van Gogh and John Peter Russell", there is mention that "…Buxton Knight another friend of Russell and [Tom] Roberts, and known to Edward Combes, became something of a mentor to Roberts, Russell and other visiting Australian students, including E Phillips Fox. An interpreter of the cool, tonal landscape, tranquil and slightly melancholy at times, with a preference for autumnal scenes and twilight tones.... he became a foundation member of the New English Art Club in 1888. Combes nominated him for membership of the Art Society of New South Wales, where he exhibited in