I don't really know what to say. I read his piece about gardens being perfected forms of place making years ago and it just stuck with me every time I planted something since.
Their story
John Dixon Hunt (18 January 1936 to 27 September 2026) was an English scholar who began his career teaching English literature and became one of the most influential historians and theorists of gardens and designed landscapes of his generation. Across six decades he showed that a garden could be read…
John Dixon Hunt (18 January 1936 to 27 September 2026) was an English scholar who began his career teaching English literature and became one of the most influential historians and theorists of gardens and designed landscapes of his generation. Across six decades he showed that a garden could be read as closely as a poem or a painting, and he built many of the institutions through which the modern field of landscape history now works.
Hunt was born in Gloucester, England. His parents moved to Bristol so that he could attend Bristol Grammar School. His father, Sydney, led a company of amateur actors, and as a boy Hunt helped him learn his lines; for a time he imagined a career on the stage himself. He spent time with his maternal grandfather, Frank Dixon, a school headmaster and entomologist, and walked widely in the English Lake District and in Switzerland. Colleagues later remembered the theatrical presence he brought to the lecture hall.
He won a scholarship to King's College, Cambridge, where he read English literature and took his BA (1957) and MA. As an undergraduate he met E. M. Forster at tea, wrote on the Greek poet C. P. Cavafy for Granta in 1957, and founded a student journal, PAWN. He completed a PhD at the University of Bristol in 1964.
Hunt taught English literature, with a focus on its relationship to the visual arts, at the University of Michigan, Vassar College, Exeter, York, Leiden, the University of East Anglia and Bedford College, London. His early books included The Pre-Raphaelite Imagination: 1848 to 1900 and a critical commentary on Shakespeare's The Tempest (both 1968), and a study of Andrew Marvell (1978). His path into landscape began with research on Alexander Pope and a visit to the gardens at Stowe, which he toured for several days with the history master of Stowe School. With Peter Willis he edited The Genius of the Place: The English Landscape Garden 1620 to 1820 (1975), and the next year he published The Figure in the Landscape: Poetry, Painting, and Gardening during the Eighteenth Century.
In 1981 he founded the Journal of Garden History, now Studies in the History of Gardens and Designed Landscapes, and in 1985 he co-founded Word & Image: A Journal of Verbal/Visual Enquiry, which he edited until 2010. Garden and Grove: The Italian Renaissance Garden in the English Imagination 1600 to 1750 appeared in 1986 and his catalogue of the landscape designs of William Kent in 1987. After a period as a Senior Fellow, he became Director of Studies in Landscape Architecture at Dumbarton Oaks in Washington, D.C., where he broadened the program's symposia and publications and drew together scholars from many countries and disciplines. He then served as academic advisor to the Oak Spring Garden Library in Upperville, Virginia, producing the first catalogues of its holdings, Oak Spring Sylva (1989) and Oak Spring Pomona (1990).
In 1994 he joined the University of Pennsylvania as professor and chair of the Department of Landscape Architecture and Regional Planning, a post he held until June 2000. He served as acting dean of the School of Design from July to December 2003 and became professor emeritus in 2009. At Penn he founded and edited the Penn Studies in Landscape Architecture series at the University of Pennsylvania Press, which grew to more than 30 titles, and he co-taught a long-running history and theory course with the landscape architect Laurie Olin. His own Greater Perfections: The Practice of Garden Theory (1999 and 2000) argued that gardens are concentrated or perfected forms of place-making. Later books included Gardens and the Picturesque (1992), The Picturesque Garden in Europe (2002), The Afterlife of Gardens (2004), Nature Over Again: The Garden Art of Ian Hamilton Finlay (2009), The Venetian City Garden (2009), A World of Gardens (2012), Historical Ground (2014), The Making of Place (2015), The Art of Ruskin and the Spirit of Place (2021) and Genius Loci (2022). With Michael Leslie he edited the six-volume Cultural History of Gardens for Bloomsbury.
After retiring from Penn he taught as a visiting professor at the Harvard Graduate School of Design and at Penn State University. He was named a Chevalier of the Ordre des Arts et des Lettres by the French Ministry of Culture in 2000, received an honorary Doctor of Letters from the University of Bristol in 2006, and was awarded the Friedrich Ludwig von Sckell Honorary Ring by the Bavarian Academy of Fine Arts in 2017. Penn established the John Dixon Hunt Fund in his honour in 2010.
Students and colleagues remembered him as demanding, witty and generous: a teacher's teacher who threw sloppy drafts aside as "polystyrene prose," who disliked lazy uses of words such as "picturesque" and "informal," and who wore tweed suits and colourful bow ties. He loved cooking, his garden, hiking and skiing.
John Dixon Hunt died early on Sunday, 27 September 2026, at Buck Hill Falls, Pennsylvania, at the age of 90. The cause of death was not made public. He was survived by his wife, Emily T. Cooperman, his sons Andrew Hunt and Matthew Randolph, four grandchildren and a step-granddaughter. A memorial event is to be held at a later date, and his family asked that donations in his memory go to the Buck Hill Conservation Foundation.
Biography adapted from University of Pennsylvania Weitzman School of Design remembrance (2026-10-01); family obituary via Tribute Archive / Legacy.com; Garten + Landschaft (2026-10-06); Wikipedia; Penn faculty profile.
In their own words
“Gardens are concentrated or perfected forms of place-making.”
Greater Perfections: The Practice of Garden Theory (2000), explaining the garden's privileged position within landscape architecture
“The use of the term 'picturesque' today is generally limp, gesturing at best towards something visually attractive, perhaps old, quaint or scenic.”
The Picturesque Garden in Europe (2002)
“Between the historical poetry and the personal lies much of the most charming of Cavafy's work. Its dominant quality is the precision of the flashes of insight and of their expression.”
Writing on C. P. Cavafy in Granta, June 1957, as a Cambridge undergraduate
“You're very clever. Now tell me why you're wrong.”
To his future doctoral student Jody Beck during a lecture at Penn, as recalled in the Weitzman remembrance
“When you speak to someone, imagine you are grabbing them by the collar of their shirt.”
Advice on lecturing to colleague Anita Berrizbeitia, as she recalled in 2026
“Yes, what you've written is correct, and for that reason I want to publish it in my journal but now let's get back to the exam.”
To David Leatherbarrow during his 1983 PhD examination, as Leatherbarrow recalled

That line changed how I look at my own backyard too.