John White Abbott never worked as a professional artist but achieved the highest technical accomplishment and through his uncle, James White, enjoyed the company of artists and patrons such as Sir Joshua Reynolds (1723-92) and Sir George Beaumont (1753-1827). This view of Canonteign in Devon demonstrates Abbott's complete fidelity to his early style over a thirty year interval. Abbott is at his best when dealing with intricate studies of trees and undergrowth which allows full rein to his patient, if reticent, drawing. He made many paintings of natural scenery in his native Devon, which he rarely left, this being one of the largest and most impressive. The valley of the river Teign was noted in contemporary guide books for its canopy of trees and its rocky banks. Abbott probably began the watercolour with the dark cave in the centre, adding pieces to the paper at the top and bottom as he expanded the view. He relies on a skeleton of pen drawing to give solidity and structure, but then takes great care to distribute the tones of local colour evenly through the composition to convince the spectator that this is both a true image of nature and an acknowledgement of her perfection.