Difference between revisions of "Landscape painting" - New World Encyclopedia

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'''Landscape Painting''' depicts the scenery of the natural world with the views that impact the artists's eye. In an effort to represent the beauty that meets the eye, the artist tries to capture that fleeting moment in time and space, for all time, thus becoming a co-creator along with the original Creator.
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[[Image:Peter Paul Rubens 060.jpg|thumb|300px|''Autumn Landscape and the view from Steen castle,'' by [[Peter Paul Rubens]], circa 1725]]
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In these visions may be; endless skies or no sky, clouds of every strata, stars and planets, vistas of mountains, valleys, rivers, lakes and plains, all forms of vegetation, flora and fauna, deserts and oceans, etc. Also may be contained, in a single scene; humans and habitats, conveyances, wagons to ships, aircraft to automobiles, any may play a part. Weather is decidedly a large element of the composition; be it calm and serene, threatening and dramatic, clear or shrouded in mists with sunsets, sunrises, rainbows, or other phenomena that may also add to the portrayal with, most of all, light. There may or may not be form and color, for even the lack of it shows the artist's perception of the quest for artistry.
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'''Landscape Painting''' depicts the scenery of the natural world with the views that impact the [[artist]]s [[eye]]. In an effort to represent the beauty that meets the eye, the artist tries to capture that fleeting moment in time and space, for all time, thus becoming a co-creator with the original [[God|Creator]].
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Moreover, from the point of view of the public there is the subtle difference of the merely pictorial and the melding of the artist's own sensibilities and creativity.  
 
  
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In these visions may be, any element that may be natural or man-made. [[Flora]] and [[fauna]], the [[weather]], [[light]] and darkness all can play a part. There may or may not be, form and color, for even the lack of it shows the painter's perception in the quest for artistry.
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{{toc}}
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From the point of view of the public there is the subtle difference of the merely pictorial and the melding of the artist's own sensibilities and creativity. In other words, one contains the spark of the Divine and is [[art]] while the other, merely representation.
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[[Image:Deep Valley.jpg|thumb|200px|''Deep Valley,'' by [[Guo Xi]], (fl. 1020–1090) a representative painter of landscape painting in the Northern [[Song dynasty]], well known for depicting mountains, rivers and forests in winter. By using light [[ink]] and magnificent composition to express his open and high artistic conception this piece shows a scene of deep and serene mountain valley covered with snow and several old trees struggling to survive on precipitous cliffs.]]
  
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==The Background of Landscape painting==  
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==Notes on Landscape Painting==  
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"Landscape is a state of mind." Swiss essayist, [[Henri Frederic Amiel]], nineteenth century.
  
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"Landscape is a state of mind." Swiss essayist, Henri Frederic Amiel, 19th Century.
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Landscape painters are also painters of [[light]]. It is said that, the overall flood of constant heat and light in the Orient created the monochromatic styles there and the use of pure line as a graphic description. In the West, the ever shifting seasons and subtleties of changing, suffused light, created a very different style of painting, championed by artists such as the Dutch Masters, the [[Romanticism|Romantics]] and the sublime, [[W.J.M. Turner]], the [[Impressionism|Impressionists]] and [[Luminism|Luminists]] in the [[United States of America]].
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[[Image:Metcalf_indian_summer_vermont.jpg|thumb|200px|''Indian Summer, Vermont,'' by [[Willard Leroy Metcalf]].]]
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[[Image:Ruskin-1-drawing.jpg|thumb|200px|''Study of Gneiss Rock, Glenfinlas,'' Pen and ink and wash with Chinese ink on paper, by [[John Ruskin]], 1853]]
  
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The effect of light plays an important role in viewing the landscape and we can say that these painters are also painters of light. It has been said that the overall flood of constant heat and  light in the Orient created the monochromatic styles there and their use of the line as a graphic description. In Europe the ever shifting seasons and subtleties of changing, suffused light, created a very different style of painting, championed by artists such as the Impressionists, WJM Turner and the Luminists.
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In Western art, [[Landscape painting (European tradition)|Landscape painting]] before the sixteenth century, with few exceptions, such as wall pictures in the [[Hellenistic period]], have been mostly a decorative backdrop until the seventeenth century when serious artists of 'pure' landscape were active. Even then, they were thought of as very low on the scale of subject matter, second only to the flowers and fruit varieties.  
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Light may also have an emotional effect and has been used to create moods that the artist desired in the landscape.
 
  
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In Western art, Landscape Painting before the sixteenth century, with few exceptions, such as wall pictures in the Hellenistic period, have been mostly a decorative backdrop until the seventeenth century when serious artists of 'pure' landscape were active. Even then, they were thought of as very low on the scale of subject matter, second only to the flowers and fruit varieties.  
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Traditionally, [[landscape art]] depicts the surface of the [[Earth]], but there are other sorts of landscapes, such as [[moonscape]]s and [[starscapes]] for example.
  
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The oldest recorded views in the West were cut into rock at Valcamonica, near Lake Guarda, Italy, some 2000 years B.C.E. However, these are geometric and not regarded strictly, as art.
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The word ''landscape'' is from the [[Dutch language|Dutch]], ''landschap'' meaning a sheaf, a patch of cultivated ground. The word entered the English vocabulary of the connoisseur in the late seventeenth century.
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The pre-classical civilizations of Mesopotamia, Egypt and the Agean had landscape motifs that '''are''' considered art. The Hellenistic period, shows us the first known paintings of a more naturalistic nature.
 
  
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In the first century C.E., Roman frescoes of landscapes decorated rooms that have been preserved at [[Pompeii]] and [[Herculaneum]] and the first of 'pure' landscapes.
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In Europe, as [[John Ruskin]] realized,<ref>John Ruskin. ''Modern Painters, Vol. 3 Of Many Things.'' "Of the novelty of landscape." (Adamant Publishing, 2000. ISBN 142122903X) </ref> and [[Sir Kenneth Clark]] brought to view, in a series of lectures to the Slade School of Art, London, that Landscape Painting was the "chief artistic creation of the nineteenth century," with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity"<ref>Sir Kenneth Clark. ''Landscape into Art.'' preface. (New York: Harper and Row, 1949.)</ref> In Clark's analysis, underlying European ways to convert the complexity of landscape to an idea were four fundamental approaches:
  
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Traditionally, landscape art depicts the surface of the [[earth]], but there are other sorts of landscapes, such as [[moonscape]]s and starscapes for example.
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* By the acceptance of descriptive [[symbol]]s,
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[[Image:Stroll About In Spring.jpg|thumb|right|250px|[[Zhan Ziqian]], ''Strolling About in Spring'', c. 600.]][[Image:The Harvesters by Brueghel.jpg|thumb|right|250px|[[Pieter Brueghel the Elder]], ''The Harvesters'', 1565: Peace and agriculture in a pre-Romantic ideal landscape, without sublime terrors]]
 
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[[Image:Metcalf_indian_summer_vermont.jpg|thumb|250px|[[Willard Leroy Metcalf]], Indian Summer, Vermont. Metcalf painted large scale landscapes en [[plein-air]].]]
 
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[[Image:Jane_Frank_Dorado_No2.jpg|thumb|right|250px|[[Jane Frank]] (Jane Schenthal Frank, 1918-1986), ''Aerial Series: Dorado no. 2'', 1970: An example of '''[[aerial landscape art]]''', acrylic and mixed materials on apertured double canvas, 35"x47". Notice that in this kind of landscape, there is no horizon and no sky.]]
 
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The word ''landscape'' is from the [[Dutch language|Dutch]], ''landschap'' meaning a sheaf, a patch of cultivated ground. The word entered the English vocabulary of the connoisseur in the late 17th century.
 
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The Chinese tradition of "pure" landscape, in which the minute human figure simply gives scale and invites the viewer to participate in the experience, was well established by the time the oldest surviving ink paintings were executed.
 
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In Europe, as [[John Ruskin]] realized,<ref>''Modern Painters'', volume three, contains the relevant section, "Of the novelty of landscape".</ref> and [[Sir Kenneth Clark]] brought to view, in a series of lectures to the Slade School of Art, London, that Landscape Painting was the "chief artistic creation of the nineteenth century", with the result that in the following period  people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity"<ref>Clark, ''Landscape into Art'',  preface.</ref> In Clark's analysis, underlying European ways to convert the complexity of landscape to an idea were four fundamental approaches:
 
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By the acceptance of descriptive symbols,
 
 
   
 
   
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By curiosity about the facts of nature,
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* By curiosity about the facts of [[nature]],
 
   
 
   
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By the creation of fantasy to allay deep-rooted fears of nature,
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* By the creation of fantasy to allay deep-rooted fears of nature,
  
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By the belief in a [[Golden Age]] of harmony and order, which might be retrieved.
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* By the belief in a [[Golden Age]] of [[harmony]] and order, which might be retrieved.
  
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He said that, 'we are surrounded by things which we have not made and which have a life and a structure different from our own and for centuries have inspired us with curiosity and awe.'
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He said that, "we are surrounded by things which we have not made and which have a life and a structure different from our own and for centuries have inspired us with curiosity and awe." He continued to say that, "Landscape Painting marks the stages in our conception of nature. Its rise and development since the [[Middle Ages]] is part of a cycle in which the human spirit attempted once more to create a harmony with its environment." Sir Kenneth Clark also wrote that, "landscape painting was an act of faith and in the early nineteenth century as values declined, faith in nature became a form of religion." and "Almost every Englishman when asked what he thought was meant by the word 'beauty' would begin to describe a landscape."
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He continued to say that, 'Landscape Painting marks the stages in our conception of nature. It's rise and development since the Middle Ages is part of a cycle in which the human spirit attempted once more to create a harmony with its environment.'
 
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Sir Kenneth also wrote that, 'landscape painting was an act of faith and in the early nineteenth century as values declined, faith in nature became a form of religion.'
 
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and 'Almost every Englishman when asked what he thought was meant by the word 'beauty' would begin to describe a landscape.'
 
  
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Sir Kenneth also wrote that Rouseau's ideal of ''total immersion,'' could be seen in the paintings of both William Turner and Claude Monet.
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Sir Kenneth Clark also wrote that [[Henri Rousseau]]'s ideal of ''total immersion,'' could be seen in the paintings of both [[J.M.W. Turner]] and [[Claude Monet]].
 
   
 
   
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In a book on the phenomena of Krakatoa, (''The Day the World Exploded: August 27, 1883'' by Simon Winchester) the volcanic eruption that could be heard clear across the world, the writer states that "Art was born out of the after-effects of this volcano."  
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In a book on the phenomena of [[Krakatoa,]] (''The Day the World Exploded: August 27, 1883'' by [[Simon Winchester]]) the [[volcano|volcanic eruption]] that could be heard clear across the world, the writer states that "Art was born out of the after-effects of this volcano." After millions of tons of dust were hurled into the air in the [[East Indies]], it disseminated around the world for many years and extraordinary sunsets were seen in unusual colors and hues exciting many landscape painters.
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After millions of tons of dust were hurled into the air in the East Indies, it disseminated around the world for many years and extraordinary sunsets were seen in unusual colors and hues exciting many landscape painters.
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One of those [[artist]]s was, [[Frederic Edwin Church]], a member of the [[Hudson River School]], an American nineteenth-century painting group. ''Sunset Over the Ice on Chaumont Bay, Lake Ontario,'' a [[watercolor painting]], is said to be the only major painting made after the immediate aftermath of the explosion and stands as vivid testimony to the great eruption. His oil, ''Twilight in the Wilderness,'' also has unusual richness of color. [[J.M.W. Turner]] the great English master-painter, was also thought to have been influenced by these unusual effects and is famous for painting evening skies colored in the aftermath of the 1815 eruption of [[Tambora]], an earlier but not as lethal, eruption.
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One of those was, Frederic Edwin Church, a member of the Hudson River School, an American nineteenth-century painting group.  
 
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'' Sunset Over the Ice on Chaumont Bay, Lake Ontario,'' a watercolor, is said to be the only major painting made after the immediate aftermath of the explosion and stands as vivid testimony to the great eruption. His oil, ''Twilight in the Wilderness,'' also has unusual richness of color.  
 
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J.M.W. Turner the great English master-painter, was also thought to have been influenced by these unusual effects and is famous for painting evening skies colored in the aftermath of the 1815 eruption of Tambora, an earlier but not as lethal eruption.
 
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A lesser artist, William Ashcroft, who lived on the River Thames in Chelsea, London, painted some five hundred, plus, watercolors and made notes of the unique tints in the sunsets, for several months. These were shown in exhibition but then locked away in the Natural History Museum, in London, almost forgotten.
 
  
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== Chinese Landscape and Philosophy ==
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A lesser artist, [[William Ashcroft]], who lived on the [[Thames River]] in [[Chelsea, London]], painted some five hundred, plus, watercolors and made notes of the unique tints in the sunsets, for several months. These were shown in exhibition but then locked away in the [[Natural History Museum]], in [[London]], almost forgotten.
  
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Chinese painters over a period of fifteen centuries have developed certain methods that are meant for the beginner to learn and practise before any creative departures. The evolution of Chinese painting over many centuries has been continuous whilst making some adjustments for certain other influences. It has established strong traditions and a self generating force.
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==[[Landscape painting (European tradition)]]==
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The simple use of brush and ink on absorbent paper in monochromatic forms and voids coupled with an exclusive choice of subjects from nature form the basis for this language of art. For thousands of years the Chinese people have been farmers struggling with the changes in nature until they began to seek a way of attunement with those forces which became eventually the philosophy of ''Tao'' or ''the Way.''  a fundamental notion that nature and humanity are one.
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The oldest recorded views in the West were cut into rock at [[Valcamonica]], near [[Lake Guarda]], [[Italy]], some 2000 years B.C.E. However, these are geometric and not regarded strictly, as art. The pre-classical civilizations of [[Mesopotamia]], [[Egypt]] and the [[Agean]] had landscape motifs that are considered art. The Hellenistic period, shows us the first known paintings of a more naturalistic nature.
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So, artists aspired also to become one with nature, superceeding other forms such as figure painting.
 
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As a result Chinese painting came to have universal appeal. The artist intends the landscape not just for viewing but for a more spiritual journey.
 
  
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== Japanese Painting Traditions ==
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In the first century C.E., [[Roman frescoes]] of landscapes, decorated rooms that have been preserved at [[Pompeii]] and [[Herculaneum]] and the first of 'pure' landscapes.
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As nearly all forms of art, Japanese early painting had been under the influence of the Chinese culture. By and by, new and specifically Japanese styles were developed and painting schools were established. Each school practized their own style. But the Chinese influence remained strong until the beginning of the Edo period (1603-1867). There is a general term to describe painting in Japanese style - yamato-e.
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===The Renaissance===
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In Italy, [[Giovanni Bellini]] was perhaps the first to mold all the varying styles of precision and mastery of light into one harmonious whole with man, nature and his environment seen on equal terms. The [[Renaissance]] produced both Christian and Pagan symbols along with Classical [[mythology]], to praise man rather than any one system. A shift from divine to earthly love is shown in portrayals by both [[Sandro Botticelli]] and [[Titian]]. Artists began to look at the landscape in a much more studied and scientific way, tired of the old symbolic representations of nature. [[Leonardo da Vinci]] studied closely and drew, rocks and the way water and clouds move and botanicals among other subjects, in his Notebooks.  
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[[Image:Jacopo Tintoretto 007.jpg|thumb|left|''Christ on the [[Sea of Galilee]],'' by Jacopo [[Tintoretto]], 1560]]
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[[Image:Joachim Patinir 002.jpg|thumb|left|''Flight into Egypt,'' by [[Jacob Patinir]], 1524]]
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[[Image:Breughel proverbs.jpg|thumb|left|''Proverbs,'' by [[Jan Breughel the Elder]], copied from a painting by his father [[Pieter Breughel the Elder]].]]
  
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Painting Schools and Styles
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===Spiritual reaction===
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[[Mannerism]] was a reaction to the [[Renaissance]], a way to depict [[Spirituality]] over [[Humanism]]. A form of [[Expressionism]], it had a love of visual excitement akin to the [[Gothic]] tradition, everything was for effect. [[Tintoretto]], ''Saint Mary of Egypt in Meditation,'' 1585 (oil on canvas) and [[El Greco]], the Greek, 1541-1614, ''View of [[Toledo]]'' (oil on canvas) were great examples. [[Peter Paul Rubens]]', 1577-1640, landscapes were full of both naturalism and romantic escapism. ''The Hurricane,'' 1624 (oil on wood) is typical and his rainbows anticipated [[W.J.M. Turner]].
  
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* Suibokuga or Sumi-e, is the term for painting in black ink. It was adopted from China and strongly influenced by Zen Buddhism. During the 15th century ink painting gained a more Japanese style of its own.
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===The Northern naturalism===
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Sixteenth century [[Flemish]] landscape began with [[Joachim Patinir]] and lasts over a hundred years and ends with the refined [[Jan Breughel the Elder]], or [[Velvet or Flower Breughel]], with sublime religious subjects, as in, ''[[Sodom and Gomorrah]],'' (oil on copper). His father, [[Pieter Breughel the Elder]], or [[Peasant Breughe]]l (for his portrayals of that life) was considered the greatest of Flemish painters of the period with his combination of Italian ''maniera'' or style and [[Netherlands]] realism. ''Hunters in the Snow,'' 1565 (Oil on wood) is believed to be, ''December'' or  ''January,'' from a series of the ''Months.''
  
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* Kano Masanobu (1453-1490) and his son Kano Motonobu (1476-1559) established the Kano painting school. It began as a protest against the Chinese ink painting technique in black. The Kano school used bright colors and introduced daring compositions with large flat areas that later should dominate the ukiyo-e designs. The Kano school split into several branches over the time, but remained dominant during the Edo period. Many ukiyo-e artists were trained as Kano painters.
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[[Dutch]] painters soon moved towards a new naturalism unhampered by literary or classical allusions.
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This commitment to landscape for its own sake was novel in it's time. Light, became the dominant theme and realism needed by a newly rich class. These were the honest tributes to this northern landscape of flat fields and low skies. The new Dutch syle began with [[Hercules Seghjers]] of [[Haarlem]], 1590-1638, with a kind of imaginative realism as in ''Rocky Landscape'' (oil on canvas) and a golden light that [[Rembrandt]] admired, owning several of his work.
  
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* The nanga painting style was strong at the beginning of the 19th century during the bunka and bunsai era. The advocates of this style painted idealized landscapes and natural subjects like birds and flowers for a cultural elite. The style was rather Chinese.
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===The new French and English Schools===
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In [[France]] during the reign of [[Louis XIV]], the argument as to which was more important, color or drawing came to a head. The partisans of drawing favored [[Nicolas Poussin]], whilst those of color, [[Peter Paul Rubens]]. This battle was won when, a product of the [[Rococo]] period, [[Antoine Watteau]] was accepted into the [[French Academy]] in 1717, with his ''Embarkation for [[Cythera]].'' This painting has wistful lovers in a theatrical tableau and it began the career of the most famous French colorist and painter of lovers and musicians of the eighteenth century. This later led to the idylls of [[Jean-Honore Fragonard]], 1732-1806, the last great painter of the eighteenth century, who along with [[Watteau]], seemed to consider nature as well-tended parks and gardens and the latter contemplated the world with more than delight and painted it with freshness and freedom. ''The Shady Avenue,'' 1736-1776, (oil on wood) a fine example.
  
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Japanese painters used a wide variety of media over the centuries. The only one you will not find until the late nineteenth century, is the Western media of the framed canvas.
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[[Thomas Gainsborough]], a portraitist, in England, belonged to a period in which his fellow countrymen tried to make actual 'places' into living versions of classical paintings. When these formal gardens were then used as starting points of landscape paintings, history had gone full circle, as in ''Landscape with a Bridge,'' after 1774, Oil on canvas.
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In the nineteenth century, ''Romanticism,'' the opposite of ''classicism'' or  ''neo-classicism''  began to take on a variety of meanings and introduced the idea of the ''sublime.'' This, was to bring forth the ideal of feeling, as to opposed to cold reason. This resulted in very dramatic works, later echoed in some of the Hudson Valley painters in America.
  
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Japanese paintings may evoke an association with landscapes and natural scenes drawn with a few simple brush strokes.
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===The Romantic North===
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In northern countries the[[ Romantic]] view of nature varied enormously. Painters either were sternly realistic or tried to show off the characteristic beauties of their country. German artist,[[Caspar David Friedrich]] 1774–1840, was the exception and the greatest exponent of the Romantic landscape in northern Europe. ''Mountain Landscape with Rainbow,'' 1809 (oil on canvas) conveys a sense of mystery of the bewilderment of man confronted with the huge Creation. His conveyance of the romantic and the sublime also had great influence later in American painting as with the English painters, [[John Martin]] and [[J.M.W. Turner]].
  
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== European Painting ==
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===The Impressionists and Post-Impressionists===
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[[Image:Cezanne marne.jpg|thumb|200px|''The Banks of the Marne,'' [[Paul Cezanne]], 1888]]
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From a small exhibition given by a few close friends working in the same way together, came the name for their genre. The freshness and immediacy of execution, shocked the public and the neglect of proper 'subjects' by[[ Claude Monet]], [[Camille Pissarro]],[[ Alfred Sisley]] and [[Paul Cezanne]]. Monet's ''Impression: Sunrise'' gave rise to the sarcastic comment, "an exhibition of impressionists."
  
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'''Nature as Divine Power'''
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When the [[Impressionism|Impressionists]] were at their best, they wove a pattern of light and shade over their canvases, eliminating hard outlines and graded shading. Their sheer use of pure color would have amazed their predecessors. Black and brown were removed for color absorbed them. Claude Monet 1840-1926, profited from working with [[Pierre-Auguste Renoir]], (1841-1919), who'd been a painter of china. As ''[[plein air]]'' artists they'd finish canvases in their studios, with Monet's on a house boat at one point.
  
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Early in the fifteenth century, Landscape Painting was established as a [[genre]] in Europe, as a setting for human activity, often expressed in a religious subject, such as the themes of the ''Rest on the Flight into Egypt'', the ''Journey of the Magi'', or ''Saint Jerome in the Desert''.
 
  
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With Christian religion came the idea of nature as a manifestation of divine power. This led to the symbolic view of nature, from the 'real to the 'unreal'  landscapes of Byzantine art. Later the first realistic scapes came from Siena, with Ambrogio Lorenzettis' frescoes. Avignon was also a center of factual landscape detail in the decorative walls at the Palace of the Popes, 1343.
 
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In the north, in France and Burgundy. manuscripts such as the ''Tres Riches Heures'' by the Duke of Berry (''Book of the Hours'') created as seasonal calendars and painted by artists from the Low aCountries showing nature in miniature perfection and this style inspired the Italians.
 
  
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'''The Northern or Gothic style'''
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===[[Russia]]===
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Over the centuries Russian culture has been formed both in opposition to social and material reality and its artists transformed the tragedy of existence into metaphysical beauty. For many the artistic image represented life itself. The messianic attitude towards creativity has always existed in Russia and especially during the early twentieth century when the artists of the Russian [[avant-garde]] like [[Marc Chagall]] and [[Vasily Kandinsky]] changed the very concept of the relationship between the visible and invisible worlds. The artist is always a missionary who must look beyond the objective world into the mysteries of existence.
  
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In the North, Gothic painters such as Jan van Eyck could give their landscapes luminosity whilst others, a sharp exactitude. A hard crisp style, as with Robert Campin's work, after Pol de Limburg and this worked well to depict harsh wintry scapes. Albrecht Durer's topographical scenes, around 1494, show an intense uncompromising gaze and his drawing of Innsbruck is perhaps the first real portrait of a town.
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Examples are;
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*[[Isak Leitan]], ''Above Eternal Rest,'' 1894 (oil on canvas) [[The State Tretyakov Gallery, Moscow,]]
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*[[Silvester Schedrin]], Russian Romantic, ''A Small Harbour in Sorrento near Naples'' (oil on canvas) The State Tretyakov Gallery, Moscow.
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*[[Alexander Ivanov]], between Classicism and Romanticism, ''Via Appia,'' 1845 (oil on canvas) The State Tretyakov Gallery, Moscow,
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*[[Fedor Alexev]], ''View of the Palace Embankment from the Peter and Paul Fortress'' (oil on canvas) The State Tretyakov Gallery, Moscow,
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*[[Alexei Venetsianov]] ''On the Harvest: Summer'' (oil on canvas) The State Tretyakov Gallery, Moscow,
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*[[Nikifor Krylov]], ''Winter Landscape,'' 1827 (oil on canvas) [[State Russian Museum, Saint Petersburg,]]
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*[[Grigorii Soroka]], ''Fishermen We,'' 1840s (oil on canvas) State Russian Museum, Saint Petersburg,
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*[[Fedor Vasiliev]], ''Wet Meadow,'' 1872 (oil on canvas) The State Tretyakov Gallery, [[Moscow]],
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*[[Ivan Shishkin]], ''Rye,'' 1878 (oil on canvas) The State Tretyakov Gallery, Moscow,
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*[[Arkship Kuindzhi]], ''At Night,'' 1905-1908 (oil on canvas) State Russian Museum, Saint Petersburg,
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*[[Isaak Levitan]] ''Spring, High Water'' (oil on canvas) The State Tretyakov Gallery, Moscow,
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*[[Victor Borisov-Musatov]], ''Gobelin,'' 1901, Oil on canvas, The State Tretyakov Gallery, Moscow,
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*[[Pavel Kuznetsov]], ''Shearing Sheep,'' ca. 1912 (oil on canvas) State Russian Museum, Saint Petersburg,
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*[[Aristarkh Lentulov]], Cubist, ''Moscow,'' 1913 (oil on canvas) The State Tretyakov Gallery, Moscow,
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*[[Wasily Kandinsky]], ''Sketch For Composition,'' 1909-1910 (oil on canvas) Solomon R. Guggenheim Museum, New York,
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*[[Kasmir Malevich]], ''Red Cavalry,'' 1928-1932 (oil on canvas) State Russian Museum, Saint Petersburg.
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*[[Alexander Labas]], ''The Train is Going,'' 1929 (oil on canvas) State Russian Museum, Saint Petersburg,
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*[[Alexander Deineka]], ''Collective Farmworker on a Bicycle,'' 1935 (oil on canvas) State Russian Museum, Saint Petersburg,
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*[[Arkady Plastov]], ''Reaping,'' 1945 (oil on canvas) The State Tretyakov Gallery, Moscow,
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*[[Eric Bulatov]], ''Krasikov Street,'' 1977 (oil on canvas) [[Jane Vorhees Zimmerli Museum, Rutgers,]] [[State University of New Jersey]], [[New Brunswick]], the [[Norton and Nancy Dodge collection of Nonconformist Art from the Soviet Union.]]
  
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Flemish does not always mean naturalistic. When we witness the works of Hieronymus Bosch, for example, ''The Garden of Earthly Delights,'' 1503-4, Oil on wood, we see a world purely of the imagination, made from religious faith. He was to portray  both, Heaven and Hell.
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===Gallery Russian landscape art===
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<gallery>
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Image:Kuskovo 1839.jpg|''Kuskovo Palace and Estate of the Counts Sheremetev in Moscow,'' Watercolor, 1839
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Image:Ostankino 1858.jpg|''Ostankino palace and manor in Moscow,'' Watercolor by [[Vasily E. Raev]], 1858
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Image:Savrasov sukharev tower.JPG|''Sukharev Tower,'' by [[Alexei Kondratyevich Savrasov]], 1872
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Image:Moscow I..JPG|''Moscow I,'' by [[Wassily Kandinsky]], 1916
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Image:Simonoff.jpg|''Clouds and Golden Domes at the Simonov Monastery,'' [[Apollinary Vasnetsov]], 1927
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Image:Nicholas Roerich 008.jpg|''Krishna,'' from the "Kulu" series by [[Nicholas Roerich]], 1929
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Image:Nicholas Roerich 009.jpg|''St. Panteleimon the Healer,'' by [[Nicholas Roerich]], 1931
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Image:Wladimir Gawriilowitsch Krikhatzkij - The First Tractor.jpg|''The First Tractor,'' by [[Vladimir Krikhatsky]] 
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</gallery>
  
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Geographically, Romanticism is a Northern extreme and Classicism, a Southern. This has a lot to do with climate and light and the artists's reaction to it. Of course, the styles may be fused in the best of those artists.
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===Freedom in the twentieth century===
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Freed from many old constraints, artists began to experiment more and more, with happy results; [[Henri Matisse]], 1869-1954, a brilliant colorist with ''The Blue Room,''  ''The Bluff'' 1907 (oil on canvas) and a leading spirit of the the ''[[Fauves]]'' or "wild beasts,"  with vivid and highly decorative motifs. [[Raoul Dufy]] a designer, painted with sketchy frivolity and decorative color, [[Maurice Utrillo]] his beloved Paris-scapes, and [[Maurice de Vlaminck]] (1876-1958) painted by laying on thick layers of oil with a knife and other flat instruments.
 +
[[Wasily Kandinsky]], 1866–1944, a Russian painter, printmaker and art theorist, is credited with making the the first abstract paintings in the West.
 +
<gallery>
 +
Image:Matisse-Luxe.jpg|''Luxury, Calm, and Pleasure,'' by [[Henri Matisse]], 1904
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Image:Matisse-Open-Window.jpg|''Open Window, Collioure,'' by [[Henri Matisse]], 1905
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Image:SeineChatou.JPG|''The River Seine at Chatou,'' [[Maurice de Vlaminck]], 1906
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Image:Vlaminck-TheCircus.jpg|''The Circus,'' by [[Maurice de Vlaminck]], 1910
 +
</gallery>
  
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'''The Renaissance'''
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==[[Landscape painting (American tradition)]]==
  
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In Italy, Giovanni Bellini was perhaps the first to mold all the varying styles of precision and mastery of light into one harmonious whole with man, nature and his environment seen on equal terms.
+
''In The Beginning, All the World was America'' - [[John Locke]]
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The Renaissance produced both Christian and Pagan symbols along with Classical mythology, to praise man rather than any one system. A shift from divine to earthly love is shown in portrayals by both Botticelli and Titian. Artists began to look at the landscape in a much more studied and scientific way, tired of the old symbolic representations of nature.
 
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Leonardo da Vinci studied closely and drew, rocks and the way water and clouds move and botanicals among other subjects, in his ''Notebooks.''
 
  
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''Out of the strong came forth sweetness'', wrote Walter H. Pater, 1839-1894, an English essayist on art, of the influence of Florence on the Renaissance.
+
''In the woods, is perpetual Youth. The currents of the Universal Being circulate through me; I am part or particle of God.'' - [[Ralph Waldo Emerson.]]'' [[Nature]]''
  
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Whilst Northern painters such as Hubert van Eyck intuited the natural regression in space, a rational Italian, an architect, Brunelleschi, created scientific perspective with strict laws of vanishing points and upright verticals, to control use of space. Paradoxically, the ancient Chinese had the exact opposite way of working. Florence discovered perspective which organized space, whilst the Netherlands discovered light, which unified it. Masaccio and the van Eyck brothers were the chief exponents of this.
+
===Young America===
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[[Image:Washington Allston 002.jpg|thumb|left|''Florimells Flucht,'' by [[Washington Allston]], 1819]]
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[[Image:Cole Thomas View in the White Mountains 1827.jpg|thumb|left|''View in the White Mountains,'' by [[Thomas Cole]], 1827]]
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[[Image:Thomas Moran-Tower Creek, 1871.jpeg|thumb|left|''Tower Creek,'' by [[Thomas Moran]], 1871]]
 +
In America the young nation began with its influences chiefly from England and the European tradition. gradually, over time as if molded by the landscape itself, uniquely American genres and styles were born with more than an occasional nod back over the ocean.
  
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'Mountains, in consequence of the great quantity of atmosphere between your eye and them, will appear blue', writes Leonardo da Vinci, in the  ''Notebooks.'' We witness the luminous mists on rocky mountains in his ''Mona Lisa,'' 1505, Oil on wood.
+
''The thoroughly American branch of painting, based upon the facts and tastes of the country and people is … landscape'' [[James Jackson Jarves]] in his book ''The Art-idea,'' 1864.
  
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Piero della Francesca with his simple control of form and beautifully balanced picture of the world, '' Allegorical Triumph of Battista Sforza,''  Tempera and oil on wood, was able to combine both Flemish and Florentine styles. Andrea Mantegna, ''Landscape with a Castle Under Construction,''  Fresco, showed how perspective could give sculptural depth and drama to a picture. Giorgione, 1478-1510, the master of the poetic landscape, displayed great painterly skill along with an ambiguous dream like quality, as in,  ''The Three Philosophers,'' 1508-9, Oil on canvas.
+
===The Hudson River School painters===
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Raphael's  ''Madonna di Foligno,''  1511-12, Transferred from wood to canvas, is close to fact although he saw every aspect of nature as a manifestation of the Divine.  
+
Many of the landscapes produced in the eighteenth century were strictly topographical; views of towns or beauty spots and were often made by military men. In the early decades of the nineteenth, landscape began to be created as pure and ideal. [[Thomas Doughty]], 1793-1852, from [[Philadelphia]] began with picturesque composition, while ''[[History]]'' painter [[Washington Allston]], ''Diana On a Chase'' 1805, trained in London, with his allegorical scenes rooted in the Italian tradition and naturalized by the English, gave stimuli to [[Thomas Cole]]'s ambitious program to create a uniquely American landscape art.
  
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The experiments and new incursions into landscape painting during the Renaissance helped raise up the genre until in the nineteenth century it would finally come into it's own. Leonardo assisted this by stressing that the artist should work with his mind as much as his eye and get away from the idea of being a mere illustrator or copyist.
+
===Coming of Age===
 +
[[Frederic Edwin Church]] painted prolifically in the [[Hudson River]] valley and also traveled and painted in [[Landscape painting (Latin  tradition)|South America]]. His landscape painting were rivaled was [[Albert Bierstadt]], with his sensational paintings of the [[American West]]. Born In [[Germany]] in 1830 and with his family, moved to America at age two and later returned to [[Dusseldorf]] to study painting. On return in 1859, he went on an expedition the explore the [[Rocky Mountains]]. The great picture that he made on his return was ''The Rocky Mountain, Lander's Peak,'' 1863 (oil on linen). His style was cool, objective and very detailed and had already been proved by a Swiss painting of ''[[Lake Lucerne]].'' His technique was to make pencil sketches and small oil studies. His brothers ran a photographic studio and he also used a [[camera]]. His work was known as new ''[[Ideal]]'' landscape as in ''Among the [[Sierra Mountains]], [[California]]'' shown in London in 1868, 'not fiction but portraiture', was the reaction. ''Sunset in the [[Yosemite Valley]],'' 1868 (oil on canvas) was described by the artist as the [[Garden Eden]], 'the most magnificent place I was in,' recalling Cole's ''Expulsion from the Garden of Eden,'' 1827-1828 (oil on canvas). As a result of paintings from this area, in 1864, during the [[American Civil War]], landscape architect, [[Frederick Law Olmsted]] (creator of [[Central Park]], in [[New York City]] drafted a bill for the preservation of Yosemite Valley, for the nation, which [[President of the United States|President]] [[Abraham Lincoln]] signed into law.
  
−
''Anticipating future artists''
+
===A new century, new ideas===
 +
[[Winslow Homer]] another great painter began as an illustrator in [[Boston]] and served as an artist during the [[Civil War]], he was famous for wood engravings and soon his oils and watercolors became as popular. He travelled extensively and saw [[Japanese prints]] in [[France]] and took the best ideas of the west and the east and made them his own. He described the physical phenomena of the sea with spontaneity in both watercolor and oil. His ''West Point, [[Prout's Neck]],'' 1900 (oil on canvas) combined these elements of style, a new vision for a new century.
  
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Titian's landscapes of his native Cadore, ''Ruggero and Angelica in a Landscape'', Pen and brown ink, with clumpy trees, rushing streams and vivid blue hills, are echoed in countless landscapes through the ages, especially in both Constable and Turners's work in England.  
+
[[Marsden Hartley]] was one of the first great modern painters, although an itinerant, constantly struggling with his personal life and finances and unable to settle, he alternated between [[Nova Scotia]], [[Maine]], [[New England]] and [[New York]]. His paintings of ''The Last Stone Walls, Dogtown'' ([[Gloucester, Mass.]]) 1936-1937 (oil on canvas) reminiscent of [[Pynkham Ryder]], point the way to future modernism.
  
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During the French Baroque Era, Claude Lorrain's, 1600–82, glowing paintings, had a transcendental feeling of the perfect and came from direct observations of nature whilst Nicolas Poussin (1648) had a strict geometry and he believed in a moral character in painting and wanted to control nature with intellectual creativity and many artists studied and tried to emulate these artists, including those in the nineteenth and twentieth centuries.
+
===[[Regionalism]], the [[Mid-West]] and [[South-West]]===
−
+
[[Grant Wood]]'s ''Fall Plowing'' 1931 (oil on canvas) at a time of great financial depression shows an ideal mid-western agrarianism. Grant Wood, [[Thomas Hart Benton]] and [[John Steuart Curry]] are considered the trinity of [[Regionalism]], an anti-dote to[[ Modern Art]]. Wood had studied Flemish art and was highly stylized but [[Alexandre Hogue]] made stronger comments on the abuse and exploitation of the land with his ''The Crucified Land'' 1939 (oil on canvas) and paintings of the [[Dust Bowl]]. [[Georgia O'Keefe]], who had made her mark in [[New York City]] with her [[city-scapes]] and close-up flower paintings moved to [[New Mexico]] permanently after her husband, photographer [[Alfred Stieglitz]]'s death in 1946. Moving between [[abstraction]] and [[realism]] she portrayed the Southwest and the [[desert]] with sensuality and ambiguity as in ''Black Place 11'' (oil on canvas).
−
''' Spiritual Reaction'''
 
  
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Mannerism was a reaction to the Renaissance, a way to depict Spirituality over Humanism. A form of Expressionism, it had a love of visual excitement akin to the Gothic tradition, everything was for effect. Tintoretto, ''Saint Mary of Egypt in Meditation,'' 1585, Oil on canvas and El Greco, the Greek, 1541-1614,  ''View of Toledo,'' Oil on canvas, were great examples. Peter Paul Rubens', 1577-1640, landscapes were full of both naturalism and romantic escapism.  ''The Hurricane,'' 1624, Oil on wood, is typical and his rainbows anticipated Turner.
+
===Towards [[realism]] and a new realism===
 +
[[Andrew Wyeth]] for all the argument about his work is indeed a painter of significance and realism. At first his work was thought of as photographic but with the advent of Photo Realism (in the 1970s) it was realized just how interpretive he was. ''Ring Road'' 1985 (tempera) shows an almost oriental feeling and abstraction.
 +
In the mid-1950s and 1960s came a shift from abstract to [[figurative painting]] on both the East and West coasts. In California, the influences included [[Henri Matisse]]; [[Richard Diebenkorn]], ''View From a Porch'' (oil on canvas) 1959, [[Wayne Thiebaud]], ''Coloma Ridge,'' 1967-1968 (acrylic and pastel on canvas) [[David Park]], [[Elmer Bischoff]], ''Landscape Afternoon'' 1959 (oil on canvas) [[Paul Wonner]], [[James Weeks]] and [[Theophilus Brown]]. In the East, the Abstract Expressionists had held sway but that began to change, too.
  
−
'''The Northern naturalism'''
+
===The inner landscape===
 +
Other artists who work with an abstract or surrealistic style to explore the inner landscapes of ourselves and our imagination, include; [[Jan Parker]] in [[Hawaii]] and [[Benny Andersson]] in [[New Jersey]].
  
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Sixteenth- century Flemish landscape began with Joachim Patinir and lasts over a hundred years and ends with the refined Jan Breughel the Elder, or Velvet or Flower Breughel, with sublime religious subjects, as in, ''Sodom and Gomorrah,''  Oil on copper.
+
Benny Andersson paints "visual prayers, intended to promote deep reflection and healing within the viewer and to have a spiritual and uplifting effect on the soul, to keep dreams alive."  He likens artists as "messengers of truth and beauty." His landscapes, full of unique imagery, cosmic and earthly visions, recall [[Hieronymus Bosch]] and are endowed with transparent colors as clear as glass. Unlike Bosch, Andersson shows the viewer worlds free from danger, impurity and abuse and allows nature to be seen as through the eyes of the newborn child.
−
His father, Pieter Breghel the Elder, or Peasant Breughel (for his portrayals of that life) was considered the greatest of Flemish painters of the period with his combination of Italian '' maniera'' or style and Netherlands realism. ''Hunters in the Snow,''
+
<gallery>
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1565, Oil on wood is believed to be,  ''December'' or  ''January,''   from a series of the ''Months.''
+
Image:Tree_450.jpg|''Tree,'' by Benny Andersson
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Image:Sea_450.jpg|''Sea,'' by Benny Andersson
 +
Image:Crossing_450.jpg|''Crossing,'' by Benny Andersson
 +
</gallery>
  
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Dutch painters soon moved towards a new naturalism unhampered by literary or classical allusions.
+
==[[Canada]] landscape painting==
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This commitment to landscape for its own sake was novel in it's time. Light became the dominant theme and realism needed by a newly rich class. These were the honest tributes to this Northern landscape of flat fields and low skies. The new Dutch syle began with Hercules Seghjers of Haarlem, 1590-1638, with a kind of imaginative realism as in,  ''Rocky Landscape,'' Oil on canvas, and a golden light that Rembrandt admired, owning several of his work.
+
As explorers, naturalists, mariners, merchants and settlers arrived on the shores of [[Atlantic Canada]] in the early centuries of its exploration, they were confronted by what they saw as a hostile and dangerous environment and an unforgiving sea. These Europeans tried to cope with the daunting new land by mapping, recording and claiming it as their own. Their understanding of the specific nature of this land and its inhabitants varied greatly, with observations ranging from highly accurate and scientific to outlandish or fantastic. These observations are documented in the landscape works they produced.
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Names such as Esias van der Velde and Jan van Goyen developed such themes from around 1615 and Jacob von Ruisdael, with ''The Beach at Egmond-aan-Zee,'' Oil on canvas. de Konink, Cuyp and Meindert Hobbema, with, ''Avenue Middelharnis,'' 1689, Oil on canvas, also contributed to the naturalistic movement. Rembrandt added his own ideal paintings of sombre force, with his supreme genius, in a few oils, he rearranged nature drastically, vis a vis,  ''The Stone Bridge,''  Oil on wood, Jan Vermeer's masterpiece, ''View of Delft'' is a well planned painting with an incredible subtle variety of tone.
+
In more recent times some of the best examples of Canadian landscape art can be found in the works of the [[Group of Seven|Group of Seven]].<ref>"Landscapes" in [http://www.collectionscanada.ca/virtual-vault/026018-119.01-e.php?q1=Landscape&PHPSESSID=709io6475tfesngi2m7226o454 Virtual Vault], an online exhibition of Canadian historical art at Library and Archives Canada</ref>and the [[British Columbia]] forest-scapes of [[Emily Carr]].
 +
The indigenous peoples of [[Canada]], the [[Inuit]] and [[First Nations]]' peoples, created their art work as part of their daily lives and did not have languages for art. In examples of hunting and fishing, the waters and other natural elements are a backdrop to the action.
  
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'''The new French and English Schools'''
+
''"Artistic expression is a spirit, not a method, a pursuit, not a settled goal, an instinct, not a body of rules."'' - Foreword, [[Group of 7]] Exhibition of Paintings, exhibition catalog, [[Art Gallery of Toronto]], 1922.
  
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In France during the reign of Louis XIV, the argument as to which was more important, color or drawing came to a head. The partisans of drawing favored Poussin, whilst those of color, Rubens. This battle was won when, a product of the Rococo period, Antoine Watteau was accepted into the French Academy in 1717, with his ''Embarkation for Cythera.'' This painting has wistful lovers in a theatrical tableau and it began the career of the most famous French colorist and painter of lovers and musicians of the eighteenth century. This later led to the idylls of Jean-Honore Fragonard, 1732-1806, the last great painter of the eighteenth century, who along with Watteau, seemed to consider nature as well-tended parks and gardens and the latter contemplated the world with more than delight and painted it with freshness and freedom.  ''The Shady Avenue, '' 1736-76, Oil on wood, a fine example.
+
Among the thousands of artists that have worked in these extensive and vast lands, here are a few, some who have been influenced by European and American traditions and a few who have created their own.
 +
[[George Back]], 1796-1878, ''Broaching to, - Canoe crossing the [[Melville Sound]],'' 1821 (watercolor) from sketchbook.
 +
Made during a heroic voyage on an overland Arctic expedition to the [[Coppermine River]].
  
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Thomas Gainsborough, a portraitist, in England, belonged to a period in which his fellow countrymen tried to make actual 'places' into living versions of classical paintings. When these formal gardens were then used as starting points of landscape paintings, history had gone full circle, as in  ''Landscape with a Bridge,''  after 1774, Oil on canvas.
+
[[James Pattison Cockburn]], 1779-1847, ''General Hospital,''  [[Quebec]], 1830 (watercolor and gum arabic over graphite on woven paper). A Major General and Commander of the [[Royal Artillery]] in British North America, he was able to use his sketchbooks on his tours of Upper and Lower [[Canada]]. At his home garrison at [[Quebec City,]] he was to paint many points of view.
  
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In the nineteenth century, ''Romanticism,'' the opposite of '' classicism''  or  ''neo-classicism''  began to take on a variety of meanings and introduced the idea of the ''sublime.''  This, was to bring forth the ideal of feeling, as to opposed to cold reason. This resulted in very dramatic works, later echoed in some of the Hudson Valley painters in America.
+
[[William Brymner]], 1855-1925, ''A Wreath of Flowers,'' 1884 (oil on canvas).
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James Ward, 1769-1859, painted Gorsdale Scar in Yorkshire, exaggerating an already spectacular piece of scenery. John Martin, in  ''The Bard,''  before 1817, Oil on canvas, turns to literary and dark medieval legends, whose figures are dwarfed by fantastic mountain-scapes.
+
An influential teacher at the [[Art Institute of Montreal]], this was painted in [[England]] with some knowlege of Impressionism.
  
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Joseph Mallard William Turner, 1775-1881, stated around 1810:
+
[[Franklin Carmichael]], 1890-1945, ''Bay of Islands'' 1930 (watercolor on paper).
 +
The youngest member of the [[Group of Seven]] artists, giving a panoramic view north of [[Lake Superior]].
  
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'To select, combine, that which is beautiful in nature and admirable in art, is as much the business    of the landscape painter, in his line, as in other departments of art.'
+
[[Emily Carr]], 1871-1945, ''Red Cedar,'' 1931-1933 (oil on canvas) and ''Sky,'' 1935 (oil on wove paper).
 +
Speaking of her love for the beauty of Canadas' woods, she asked, "Am I one-idea'd, small, narrow? God is in them all." Her depictions of a cloud-filled heaven radiates with life and energy which she noted reflected her spiritual beliefs. She is also remembered for her depictions of First Nations' villages.
  
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Turner typifies the best of the English landscape school in that he was brought up on the classical patterns which he mastered and then went on to develop his own completely personal style. One that we could call Romantic and poetic as he was often given to allegory. He dealt in 'essences' especially as a master of watercolor.
+
[[Jack Chambers]], 1931-1978, ''Towards London No. 1'' 1968-1969 (Oil on mahogany).
−
Turner was probably the greatest landscape and seascape painter of all time and perhaps no other evolved over a greater visual span, than he. From the early masterworks such as the
+
Working from a photograph, he states that he wants to capture "this eternal present." The year that he finished this painting he published an essay, "Perceptual Realism."
−
''Fishermen at Sea,'' 1796, Oil on canvas, to the 1840s and the  ''Falls of the Clyde,''  Oil on canvas, after an earlier, watercolor, there is a vast difference, that they hardly seem to be by the same hand. The dazzling color and high tonality of the late works seem to anticipate the Impressionists and in his final phase one can almost call this work, abstract. His profound continuity however, shows how single-mindedly he pursued his early goals and how brilliantly he finally attained them.
 
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He was the first to have his paintings hung low, as history paintings were, so that they could be viewed, as if entering them, rather than being hung, as if, altar pieces.                                                                                Landscape was no longer to be seen from afar but had as an immediate experience.
 
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Watercolor was his great forte and is part of the English tradition of watercolor continued by John Sell Cotman, of Norfolk, 1782-1842, with his neatness and vigor.
 
  
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Out of that East Anglia tradition came the great English landscapist, John Constable, 1776-1837, a naturalist and whilst Turner was being operatic he was being domestic. His country scenes are popular throughout the world. ''The Haywain'' was exhibited at the Paris Salon in 1824 and made an instant impact. His hard work, inspired by the Dutch, had him making quick impressions and oil sketches before working them up in detail in oils. Constable never went abroad, for his love of his native Suffolk; "those scenes made me a painter and I am grateful."
+
[[Alfred Joseph Casson]], 1898-1992, ''Hillside Village.'' 1927 (Watercolor on paper).
 +
As a member of the Group of Seven he painted the Ontario hillside town to be different from the others and because he loved these old but disappearing places. He helped form the [[Canadian Society of Painters in Water Color.]]
  
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From this influence came Theodore Rousseau of the Barbizon School, named after a village near the forest of Fontainbleau, a group of radical, plein air painters. He treated trees with great reverence, attempting to reveal their psychology and was influenced by both Constable and the Dutch, resulting in works like,  ''Pond with Oak Trees,'' 1865-69, Oil on canvas. He, with others, made an almost religious cult of nature. Leaving the unreality of urban life, they equated it with high moral values. Jean Francois Millet, 1814-75, saw the country as a work place, he glorified the hard life of the peasant, whose stock he too came from. Towards the end of his life he made purely landscape and his beautiful and dramatic,  ''Spring,'' 1868-73, Oil on canvas, suggests the world of Symbolism.
+
===Gallery Canadian landscape art===
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From this group, Camille Corot, a tonal, subtle colorist was very different, preferring his own compromise between classicism and natural observation,  ''Cornfield in the Morvan,'' 1842, Oil on canvas. He was to have an influence later, on the ''Luminists'' in America, with his shimmering light through feathery willow trees. Gustave Courbet however, was more direct with brash color and form, as in  ''Roe Deer in a Forest,'' 1866, Oil on canvas. His ideas were political, seeing art as art of the 'people.' as was Millet. As a group they anticipated the Impressionists by working outdoors without recourse to the studio, ''plein air''.
+
<gallery>
 +
Image:Mount St Helens erupting at night by Paul Kane.jpg|''Mount St. Helens Erupting at Night'', by [[Paul Kane]], 1847
 +
Image:Kane Fort Edmonton.jpg|''Fort Edmundton'', by [[Paul Kane]], 1856
 +
Image:'The Toll Gate', oil on canvas painting by Cornelius Krieghoff, 1859, 17 x 24 in.jpg|''The Toll Gate'', by [[Cornelius Krieghoff]], 1859
 +
Image:Midsummer.jpg|''Midsummer'', by [[Helen McNicoll]], 1909
 +
Image:Maurice_Cullen_-_The_Ice_Harvest.jpg|''The Ice Harvest'', by [[Maurice Cullen]], 1913
 +
Image:Maurice Cullen - Sunrise, Lac Tremblant.jpg|''Sunrise, Lac Tremblant'', by [[Maurice Cullen]], 1922 
 +
 +
</gallery>
 +
==[[Australia]] landscape painting==
 +
'''Back to Australian Tales''' is from the collection of [[Warrnambool Art Gallery]], [[Hamilton Art Gallery]], [[Ballarat Fine Art Gallery]], [[Geelong Gallery]], [[Benalla Art Gallery]], [[Lismore Regional Art Gallery]], [[Heide Museum of Modern Art]], [[Queensland University of Technology Art Museum]], [[Devonport Gallery]] and [[Arts Centre]], [[Logan Art Gallery]] and [[University of South Australia Art Museum]].
  
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'''The Romantic North'''
+
This small selection of Australian landscape painting, beginning with the period of European settlement, highlights different ways of depicting land and organizing pictorial space. Of course for a long time before the arrival of [[Europe]]ans, [[Aboriginal]] people were interpreting aspects of their land through song, art, dance and ceremony.
  
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In Northern countries the Romantic view of nature varied enormously. Painters either were sternly realistic or tried to show off the characteristic beauties of their country. German artist, Caspar                                     
+
It is interesting to note changes in regard to creating the illusion of depth in landscape painting. In the past a horizon line was used to create a sense of vast space. The resulting effect was that it positioned the viewer at a distance from the landscape. Later, as indigenous and contemporary art influenced artists and as we have come to know the landscape better, the use of a horizon has diminished or totally disappeared.
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David Friedrich, 1774–1840, was the exception and the greatest exponent of the Romantic landscape in northern Europe. ''Mountain Landscape with Rainbow,'' 1809, Oil on canvas, conveys a sense of mystery of the bewilderment of man confronted with the huge Creation. His conveyance of the romantic and the sublime also had great influence later in American painting as with the English, John Martin.
+
[[Image:Guerard Mount Townsend 1863.jpg|thumb|200px|''Mount Townsend,'' by [[Eugene von Guérard]], 1863]]
 +
[[Eugene von Guerard]] and [[Thomas Clark]] both arrived in Australia in the early 1850s yet they depict land in quite different ways. Von Guerard (1811-1901) painted ''Tower Hill'' as an idyllic landscape where the Aboriginal group, shown in the foreground, appear to live in a latter-day [[paradise]]. Between the contrast of the detailed foreground and the distant horizon one senses the artist's desire to explore this unknown land.
  
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'''The Impressionists and Post-Impressionists'''
+
''Muntham'' by [[Thomas Clark]] (1814-1883), painted approximately five years later than ''Tower Hill,'' shows measured paddocks, denuded hills, grazing animals and farm-workers leaving no sense of the ''un-known.'' The focus of the painting is the homestead nestled in the valleys. Unlike von Guerard, Clark is not interested in exploration or botanical correctness but rather in belonging and ownership.
  
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From a small exhibition given by a few close friends working in the same way together, came the name for their genre. The freshness and immediacy of execution, shocked the public and the neglect of proper 'subjects' by Monet, Pissarro, Sisley and Cezanne. Monet's  ''Impression: Sunrise'' gave rise to the sarcastic comment, "an exhibition of impressionists."
+
In von Guerard's later painting of 1884, ''Old Ballarat as it was in the summer of 1853-54,'' the genesis of a city is captured. By showing cleared land and a horizon of disappearing wilderness, von Guerard may also be questioning the price of progress.
 +
[[Image:McCubbin theletter1884.jpg|thumb|left|200px|''The Letter 1884,'' by [[Frederick McCubbin]].]]
 +
[[Fredrick McCubbin]] (1855-1917) painted ''A Bush Burial'' in 1890 when the colony was experiencing the worst [[drought]] and depression in its history and this possibly influenced the choice of subject. McCubbin creates an engulfing, claustrophobic landscape by barely suggesting any horizon and compressing midground and background. In contrast, the bush folk are portrayed as [[hero|heroic]] figures.
  
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When the Impressionists were at their best, they wove a pattern of light and shade over their canvases, eliminating hard outlines and graded shading. Their sheer use of pure color would have amazed their predecessors. Black and brown were removed for color absorbed them. Claude Monet 1840-1926, profited from working with Pierre Auguste Renoir, 1841-1919, who'd been a painter of china. As ''plein air'' artists they'd finish canvases in their studios, with Monet's on a house boat at one point.
+
There is no sense of the heroic in [[Clarice Beckett]]'s work. Instead, Beckett (1887-1935) pays homage to the everyday scenes and small events that we all experience. Misty suburban landscapes are painted with a transient beauty that suggests the impermanence of existence. Beckett often painted ''[[en plein air]]''&mdash;completing her work outside rather than in the studio. Between the heroics of McCubbin and the cherished everyday events seen in Beckett's work, we could speculate on how World War 1 may have had an effect on the choice of subject matter deemed worthy enough to paint.
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Friends and others; Camille Pissaro,  ''L'Hermitage, Pontoise,''  1873, Oil on canvas, Pierre August Renoir, 1874, Oil on canvas, Alfred Sisley,  ''Flood at Le Port-Marly'' 1876, Oil on canvas, and Edouard Manet, ''The Swallows,''  (The Artist's Wife and Mother)  1873, Oil on canvas, are remembered for their work in this genre and all influenced each other. Monet really stands out as the leader and innovator. His late work, enormous canvases of ''Waterlilies'' that were a part of his beloved gardens, would be a foretaste of Modern abstractionists to come. "Monet is only an eye but what an eye!"  declared Cezanne.
 
  
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'''The Japanese influence'''
+
[[Albert Namatjira]] (1902-1959) grew up on the [[Hermannsburg Lutheran Mission]] near [[Alice Springs]] and knew the [[Central Australian desert]] intimately. A characteristic common to most of Namatjira's landscapes is the sense of energy within the land. Though his paintings conform to European traditions of landscape painting in that they contain foreground, midground, background and distant horizon, the forms pulsate through the patterning of shadows across the painting, making the land itself appear to breathe.
  
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Japanese woodcut prints (in the '' ukiyo-e'' or the ''Floating World'' genre) were very popular at this time. Monet owned many and they influenced many artists and especially, Van Gogh, Gaughin, Manet and Degas, all who included references to them in their paintings.
+
[[Sidney Nolan]] (1917-1992), like McCubbin, was interested in depicting narratives in the landscape. In ''Kelly at the Mines'' the horizon appears disjointed and forms are not anchored in space. Instead they seem to float and the landscape becomes the locale for surreal dramas: a dreamed place. The [[Ned Kelly]] series was painted during [[World War II]] when Nolan was himself hiding out from army authorities after deserting.
−
A master whose work showed them a new way to organize their subjects in space, Katsushika Hokusai (1760-1849) made a print, ''Fuji'' which was a design of calligraphic brilliance and demonstrated a fleeting moment captured in an eternal pattern.
 
  
−
'''Impressionism's influence'''
+
In ''Yellow Landscape,'' [[Fred Williams]] (1927-1982) also disturbs the organization of pictorial space by evaporating the horizon line in what appears to be searing heat, allowing the tree forms to float in heat and space. Through thoughtful distillation of forms accompanied by gestural brush strokes, Williams transforms half-cleared, unremarkable scrub into a kind of calligraphic meditation on observation.
  
−
Other nations were influenced by this style including America, especially Childe Hassam.
+
''Eagle Landscape'' by [[William Robinson]] (b. 1936) depicts a horizon line totally abandoned and the viewer is made to feel that they are surrounded by the landscape as one simultaneously sees above, below, through and over. As the title suggests, this painting may well be an imagined bird's view as it swoops over hilltops. Robinson often depicts the land close to his home and this gives his paintings a sense of familiarity and sensitivity to the connections between land and living things.
−
An American living in London, James Abott McNeill Whistler had a lot of success with his beautiful  ''Nocturne in Blue and Gold: Old Battersea Bridge,'' 1870-02, Oil on canvas. In France, Homer Dodge Martin, 1836-97, the oldest American Impressionist, a Hudson River artist, went to Paris at age of forty and Theodore Robinson was an ardent supporter of Monet and stayed with him in Giverny. Mary Cassatt, born in Pittsburg but educated in France, lived there and painted many fine mother and child portraits. A friend of Degas she is considered more of a post-impressionist and painted but a few landscapes. In Italy, sculptor and painter, Adriano Cecioni said, "From the point of view of art, everything is beautiful."  After the unification of Italy, the new realistic painters became, in 1861, the ''macchialli''  from their  ''macchie''  or patches of color.
 
  
−
Between, 1880 and 1886, Impressionism declined, as some were seeking a scientific solution to the problem of light, which the older painters had worked out through feeling rather than reason.
+
''Leaving a Mountain'' by [[Bea Maddock]] (b. 1934) has very little sense of depth as one mountain dominates the horizon. Instead we are made aware of how the landscape was observed: slowly, bit by bit. The artist might be suggesting that intimate knowledge of the land can only be gained through slow observation. Her work often has a feeling of being wrought from earth as she uses ochers from her native [[Tasmania]] mixed with [[en-caustic]] (pigment mixed with molten wax).
−
Laboratory analysis of the spectrum gave rise to a new technique, known as  ''pointillism''  in France and  ''divisionismo'' in Italy.
 
−
George Seurat showed  ''Sunday afternoon at the the Island of La Grande Jette,''  in 1886, Oil on canvas, with vibrant light distilled all over, at the final Impressionism exhibition.
 
−
Paul Signac, 1863-1935, was Seurat's devoted disciple but more lyrical and less restricted.  ''Cote d'Azure,''  1889, Oil on canvas is an example.
 
  
−
Post-Impressionists such as Paul Cezanne began to explore the landscape in even different ways. His geometric, almost cubist, views of his beloved Provence, ''The Rocky Landscape at Aix'' and ''Lake Annecy,''  1895, Oil on canvas, where the line is never static. He wished to catch the fleeting moment, as did his peers but now to objectify it, make it as solid as the art in museums.
+
[[Kathleen Petyarre]] (b. circa 1940) was born on [[Utopia Station]], north-east of Alice Springs. Common themes in Petyarre's paintings are the Dreaming stories she inherited from her mother and father. There is a feeling of immense space in Petyarre's paintings though there is no hint of a horizon line and the subject matter may be as minute as the trail a lizard leaves across sand. The viewer is made to feel that they are surrounded by and submerged in the landscape.
−
'Where to put the line? the light moves, I move, everything is movement,' he declared. This was serious work, not the lighthearted world of the Impressionists.
 
  
−
'''Symbolism'''
+
===Gallery Australian landscape art===
 +
<gallery>
 +
Image:Painting of Augusta by Thomas Turner, 1830s.jpg|''Painting of Augusta,'' by [[Thomas Turner]], 1830s
 +
Image:Patterdale landscape.jpg|''Patterdale Landscape,'' by [[John Glover]], 1835
 +
Image:Louis buvelot macedon ranges 1874.jpg|''Macedon Ranges,'' by [[Louis Buvelot]], 1874
 +
Image:Withers_storm_1896_wynne_prize.jpg|''The Storm,'' by [[Walter Withers]], 1896
 +
Image:McCubbin pioneer1904.jpg|''The Pioneer,'' by [[Frederick McCubbin]], 1904
 +
Image:Anzac, the landing 1915.jpg|''Anzac, the landing,'' by [[John Lambert]], 1920
 +
Image:Camel corps at Magdhaba.jpg|''Camel Corps at Magdhaba,'' by [[H. Septimus Power]], 1925
 +
</gallery>
  
−
Symbolism came as a reaction to naturalism and Impressionism, trying to make a synthesis between nature and the artist,s personal idea. The Pont-Aven school, in Brittany, used this idea in landscape and revolved around Paul Gaughin, 1848-1903. Using the techniques of Emile Bernard; large flat areas of color often with dark outlines, not unlike stained glass, as in ''Les Alyscamps,'' 1888, Oil on canvas,
+
==[[Landscape painting (Latin tradition)]]==
−
After a spell living with Van Gogh in Provence, Gaughin journeyed to Panama and finally ended his days in Tahiti.
+
===Painted in Latin America===
−
"Dream in the presence of nature," he told others and he painted idyllic native scenes such as  ''The Day of God (Mahana Atua)''  somewhat recalling Egyptian friezes, in their flatness.
+
Love of travel and adventure has historically been an important characteristic of American cultural identity. In the nineteenth century, these interests were manifested in a vogue for travel literature and artist renderings, especially paintings of exotic places, an interest that reached an unprecedented peak in the mid-century. Some artists traveled to the far North of the American continent, creating images of icebergs and frozen seas; others made their way to the far West, capturing nature's wonders there, while still others headed South to the Hispanic-speaking countries of [[Latin America]]. For many of these artists, the experience was the turning point in their careers.
−
In Provence, his colleague, the Dutchman, Vincent Van Gogh, an artist of religious fervor, whose undiagnosed and severe illness drove him to tormented landscapes of brilliant color and whirling lines as in; ''Cypresses,''  1889, Oil on canvas and unforgettable ''Sunflowers'' until finally suicide ended his young life. Supported by a brother, an art dealer, he was to only sell one painting through all his years of toil. However, his letters explaining his thoughts on painting are well read, today, whilst his paintings command high prices.
 
−
In Paris, 'La Douanier,' the customs officer, self-taught, Henri Rousseau, charmed all with his simple but completely imaginary, exotic excursions, as in  ''The Merry Pranksters'',  1906, Oil on canvas. Sometimes known as a  ''naif''  he was a great and original painter in his own right.
 
  
−
'''Freedom in the Twentieth Century'''
+
===Gallery Latin American landscape art===
 +
<gallery>
 +
Image:Church Heart of the Andes.jpg|''Heart of the Andes,'' by [[Frederic Edwin Church]], 1859
 +
Image:Mandan Bull Boats and Lodges- George Catlin.jpg|''Bull Boats and Lodges,'' by [[George Catlin]]
 +
Image:Bright house rehoboth beach titian ramsay peale.jpg|''Bright House Rehoboth Beach,'' by [[Titian Ramsay Peale]]
 +
Image:Martin Johnson Heade 001.jpg|''Orchids, Passion Flowers and Hummingbird,'' by [[Martin Heade]], 1880
 +
</gallery>
  
−
Freed from many old constraints, artists began to experiment more and more, with happy results; Henri Matisse, 1869-1954, a brilliant colorist with,  '' The Blue Room,'' ''The Bluff,'' 1907, Oil on canvas and a leading spirit of the the ''Fauves'' "wild beasts,"  with vivid and highly decorative motifs, Raoul Dufy with sketchy frivolity and decorative color, Maurice Utrillo and his beloved winter Paris-scapes, Vlaminck (1876-1958) laying on thick layers of oil with a knife, etc.
+
===Twentieth century Latin America art===
 +
There are a few landscape painters in each nation of Latin America.
 +
[[Image:J. BERNAL, CAMPFIRE IN THE WOODS, 1950.jpg|thumb|200px|''Campfire in the Woods,'' by [[José Bernal]], 1950]]
 +
[[Image:BQM Dia de Sol (1958).jpg|thumb|200px|''Dia de Sol,'' by [[Benito Quinquela Martín]], 1958]]
  
−
After generations of painters had solved all the problems of realism, illusions of reality, space and light having been conquered, painters had the choice of starting from scratch as did the ''Cubists'' or making the essences of landscape by abstraction, etc.
+
;[[Mexico]]
−
Cubism was a continuation of Cezannes' explorations, breaking down the landscape into geometric forms, as created in France, by Georges Braque, ''Houses at L'Estaque,'' 1908, Oil on canvas and Pablo Picasso, in Spain and France, ''Factory at Horta de Ebra,'' 1909, Oil on canvas.
+
[[Carlos Orozco Romero]], ''Sueno (Dream),'' 1940 (oil on canvas) private collection, [[Mexico City.]]
−
In Italy, Futurism was on the rise, led by Giacomo Balla, with its synthesized color and movement.
 
−
Paul Klee, a Swiss, ''Terraced Garden,'' 1920, Oil on cardboard, explored an organic and whimsical world, whilst Klimt, in Austria, ''Chateau Above the Lake''1908 and Marc Chagall, in  ''The Repose of the Poet'' captured landscapes in fantasy and realism combined.
 
−
Then came the mental masters, the ''Surrealists'' striving to take the landscape further with the imagination than ever. Salvador Dali in Spain and France with  ''Atavistic Images After the Rain,'' 1934, Oil on canvas, with an incredible technical facility and inventiveness to match. Rene Magritte in Belgium,  ''The Castle of the Pyrenees,'' 1959, Oil on canvas, whose realistic subjects are juxtaposed in strange but not unpleasant directions, are two of the ''moderns'' who won our hearts and minds.  
 
  
−
Moderns at the beginning of this century who helped free our concepts are; the Russian, Vasily Kandinsky, of the Blaue Reiter group with  ''The Blue Rider,''  1903, Oil on canvas and ''Impression V (The Park)''1911, Oil on canvas, the first of the ''abstractionists,'' Piet Mondrian, Dutch,  ''The Tree''  1912, Oil on canvas, Umberto Boccioni, Italy,  ''Morning''  1909, Oil on canvas.
+
[[Manuel Gonzalez Serrano]], ''Aprendices de Toreo (Bullfighters' apprentices)'' 1948 (oil on wood) private collection.
−
Later came; Franz Marc ''Roe Deer in the Wood,'' 1913-14, Oil on canvas, Oscar Kokoschka, Austria, '' Tre Croci Pass in the Dolomites,'' 1913, Oil on canvas,  Giorgio Morandi, Italy, ''Landscape''  1925, Oil on canvas, Max Ernst, Germany, ''Europe After the Rain'' 1940-42, Oil on canvas, Graham Sutherland, England, ''Welsh Landscape'' 1973, Oil on canvas,  Jean Dubuffet, ''Ice Landscape (Opal)'' 1954, Oil on canvas, etc.
+
   
 +
;[[Central America]], [[Honduras]]
 +
[[Jose Antonio Valasquez]], ''Paisaje (Landscape),'' 1976 (oil on canvas) private collection.
  
−
The tumultuous Twentieth Century ended with a multitude of artists going in endless directions. However, Europe had given America it's inspiration and New York soon became the center of the Art World, leaving Paris far behind. The European tradition, however, lives on, with the artists and paintings of the new paradise.
+
;[[ Nicaragua]]
−
The popular Bernard Buffet, France, 1928-1999, with his black outlines, reminiscent of Georges Rouault, a religious painter, 1871-1958, and stained glass, kept the vision of his beloved capital alive, telling us,
+
[[Arnoldo Guillen]], ''Coloso VIII (Colossus VIII),'' 1993 (acrylic on canvas) [[Managua]].
−
''Painting, we do not talk about it, we do not analyze it, we feel it''.
 
  
−
== The American landscape ==
+
;[[Costa Rica]]
 +
[[Asilia Guillen]], ''Autorretrato de la Artista Pintado (Self-Portrait of the Artist Painting),'' 1954 (oil on canvas) private collection.
  
−
''In The Beginning, All the World was America'' - John Locke
+
[[Teodorico Quiros]], ''Caserio (Village),'' 1946 (oil on canvas) private collection.
  
−
''In the woods, is perpetual Youth. The currents of the Universal Being circulate through me; I am part or particle of God.'' - Ralph Waldo Emerson.'' Nature''
+
;[[Panama]]
 +
[[Roberto Lewis]], ''Tamarindos (Tamarind Trees),'' 1948 (oil on canvas) private collection.
  
−
'''Young America'''
+
;[[Cuba]]
 +
[[Leopoldo Romanach]], ''Cruzando El Rio (Fording the River),'' 1900 (oil on canvas) private collection.
  
−
In America the young nation began with it's influences chiefly from England and the European tradition. gradually, over time as if molded by the landscape itself, uniquely American genres and styles were born with more than an occasional nod back over the ocean.
+
[[Tomas Sanchez]], ''Buscador de Bosques (Seeker of Forests),'' 1991 (acrylic on canvas) private collection.
  
−
''The thoroughly American branch of painting, based upon the facts and tastes of the country and people is .....landscape'' James Jackson Jarves in his book ''The Art-idea'', 1864.
+
;[[Dominican Republic]]
 +
[[Yoryi Morel]], ''A La Fiesta (At the Fiesta),'' 1948 (oil on canvas) [[Museo Juan Jose Bellapart,]] [[Santa Domingo]].
  
−
In 1816 De Witt Clinton soon to be Governor of the State New York, declared,
+
;[[Puerto Rico]]
−
"Can there be a country in the world better calculated, than ours, to exalt the imagination........?"
+
[[Virginia Patrone]] ''La Hora de las Puertas Cerradas,'' 2005 (acrylic on canvas) private collection.
  
−
Images of the landscape and ideas of the nation were deeply intertwined. These played an important role in shaping American identity in the nineteenth century.
+
== Landscape painting (Eastern tradition) ==
−
Indeed the vast panoramas from east to west cried out for painters and slowly they made their way into this new paradise.
+
While [[Europe]] and the [[United States of America]], hold a central place in the public eye and in the general [[History of Art]], other civilizations have some elements of landscape painting in varying degrees. In [[Asia]], [[India]] and [[Persia]] and [[Turkey]], these are mostly found in jewel-like [[miniatures|miniature]] paintings, in which depictions of flora and lanscape appear. In India, [[Buddha]] is often in the relief carvings of stupas or shrines, depicted sitting beneath a tree, under which his mother [[Maya]] gave birth to him. In Indian [[Mogul]] art are ''Lovers in a Landscape'' c.1760-1770, [[Miniature]], [[New Delhi]], National Museum.
  
−
'''The Hudson Valley Painters'''
+
===[[India]] landscape art and philosophy===
 +
Indian paintings historically revolved around the religious deities and kings. Indian art is a collective term for several different schools of art that existed in the Indian subcontinent. The paintings varied from large frescoes of [[Ellora]] to the intricate [[Mughal]] miniature paintings to the metal embellished works from the [[Tanjore]] school. The paintings from the [[Gandhar-Taxila]] are influenced by [[Persian]] works in the west. The eastern style of painting was mostly developed around the [[Nalanda]] school of art. The works are mostly inspired by various scenes from Indian [[mythology]].
 +
None of these pictures portrayed landscape as such but occasionally small elements would be act as a backdrop.
  
−
Many of the landscapes produced in the eighteenth century were strictly topographical; views of towns or beauty spots and were often made by military men.
+
The [[Bengal]] School of Art was an influential style of art that flourished in India during the [[British Raj]] in the early twentieth century. It was associated with [[Indian nationalism]], but was also promoted and supported by many British arts administrators.
−
In the early decades of the nineteenth, landscape began to be created as pure and ideal.
 
−
Thomas Doughty, 1793-1852, from Philadelphia began with picturesque composition, whilst ''History''  painter Washington Allston, ''Diana On a Chase'' 1805, trained in London, with his allegorical scenes rooted in the Italian tradition and naturalized by the English, gave stimuli to Thomas Cole's ambitious program to create a uniquely American landscape art.
 
−
It was to find examples of the sublime and picturesque; that were featured in the writings of Washington Irving, set in the Catskills, ''The Legend of Sleepy Hollow'' and ''Rip Van Winkle,'' 1890-20, and James Fennimore Cooper's 'Leather Stocking' novels such as ''The Last Of the Mohicans'' (1826) that started Thomas Cole and other artists after him, to make their way to the Catskill mountains, in the Hudson Valley, only a short distance up the Hudson River from New York City.
 
−
''Kindred Spirits'' 1849, Oil on canvas, by Asher Brown Durand depicts the poet (Willim Cullen Bryant) and painter admiring the Catskill scenic panorama.
 
−
These are men 'who in the love of Nature holds/Communion with her visible forms' ''Thanatopis.''
 
  
−
The English John Martin's outsize works, (1851-53) three apocalyptic visions in vast landscapes seen in ''Romantic'' mezzotints, were to influence both Thomas Cole and Asher B. Durand
+
The artist [[Abanindranath Tagore]], a nephew of the poet [[Rabindranath Tagore]]. Tagore painted a number of works influenced by Mughal art, a style that he believed to be expressive of India's distinct spiritual qualities, as opposed to the "materialism" of the West.
 +
Tagore later attempted to develop links with Japanese artists as part of an aspiration to construct a [[pan-Asianist]] model of art.
  
−
Thomas Cole, born in England, moved with his family to Ohio but he returned to the East Coast to work as a landscape painter, inspired by Allston, to include poetic themes. He articulated his ideas both in words as in paint. In 1829 he returned to Europe and England where he saw Turner's work. He was interested in his ideas of the ''Sublime'' (drama in nature) in the language of the landscape.
+
In the post-independence period, Indian artists showed more adaptability as they borrowed freely from European styles and amalgamated them freely with the Indian motifs to new forms of art. While artists like [[Francis Newton Souza]] and [[Tyeb Mehta]] were more western in their approach, there were others like [[Ganesh Pyne]] and [[Maqbool Fida Hussain]] who developed thoroughly indigenous styles of work. Today after the process of liberalization of the market in India, the artists are experiencing more exposure to the international art-scene which is helping them in emerging with newer forms of art which were hitherto not seen in India.
−
His early works have an air of improvisation, violent dramas of ''chiaroscuro,'' although his need to make known the beauties of the American scenery made everything he did seem fresh and new, as in ''Mountain Sunrise, Catskill'' 1826, Oil on panel. From 1833-1836 he worked on ''The Course of Empire'' a series of modest paintings, for a New York patron, as an allegory on the progress of civilization. These held a wide range of technical experiment and a potted history of different landscape styles.
 
−
A close contemporary, Jasper Francis Cropsey, 1823-1900, was to adopt Cole's methods and make them his own. ''Autumn on the Hudson River'' 1860, Oil on canvas, was to be the central masterpiece of what was to be loosely termed as ''The Hudson River School'' in the 1870s. This, coined by a critic on the New York Tribune and included Church, Kensett, Gifford and Durand.  
 
  
−
Frederick Edwin Church came from a wealthy family in Connecticut, joined Cole in his Catskill studio in 1844, staying with him for two years and his early work echoed his master. After Cole's death, Church changed his style dramatically and produced work that simplified the view  and created a poetry from just a few simple elements as in, ''Clouds at Sunrise,'' 1849. John Frederick Kensett painted with much cooler color, ''Reminiscence of the White Mountains'' 1852, Oil on canvas, was a contrast to the warmth of the previous artists' subjects. His serenity and lack of busy brushwork was later to be given a name, ''Luminism'' in the 1950's by an art-historian and was applied equally to such artists as Martin Johnson Heade, 1819-1904 and Fitz Hugh Lane, 1804-1865, a great painter of ships as in  ''Becalmed off Halfway Rock,'' 1860, Oil on canvas. They were not a group and didn't work together. Sanford Robinson Gifford was a master of a radiant and diffused sunlight in, ''The Wilderness,'' 1860, Oil on canvas and Heade created dramatic scenes as in, ''Thunderstorm At the Shore,'' 1870-1, Oil on paper, on canvas mounted on wood panel.
+
===Gallery India landscape art===
 +
<gallery>
 +
Image:Meister der Hamza-Nâma-Handschrift 001.jpg|''Mihrdukht Shoots an Arrow Through a Ring,'' by [[Meister der Hamza-Nâma-Handschrift]], 1564-1579.
 +
Image:Razmnama.jpg|Krishna and the Pândavas water their horses. Scene from a Razmnama, 1616
 +
Image:Radha and Krishna in Discussion.jpg|''Bahsoli painting of Radha and Krishna in Discussion,'' Gita Govinda-manuscript, Gouache on paper, 1730
 +
Image:Akbar and Tansen visit Haridas.jpg|''Akbar and Tansen visit Haridas in Vrindavan,'' by [[Jaipur-Kishangarh]], 1750
 +
Image:Meister des Gîtâ-Govinda-Manuskripts 001.jpg|''Krishna embraces Gopîs,'' Gîtâ-Govinda-manuscript, 1765
 +
Image:Indischer Maler von 1780 001.jpg|''Rama and Sita in the Forest,'' by [[Maler von Indischer]], 1780
 +
</gallery>
  
−
George Innes, the same age as Church, belonged to both the National Academy of Design and the Society of American Artists and travelled widely. In 1840 he came to know the Barbizon School in France and admired Corot's work, ''plein-air.'' He followed this practice of making sketches on site and then finishing the painting in the studio, allowing his imagination free rein which gave his scenes a silent dusky look as in '' Sunset at Montclair,'' 1894, Oil on panel.
+
===[[Islam]] landscape art and philosophy===
 +
[[Image:Mughal Dynasty, Sa'di in a Rose Garden, Reign of Emperor Shah Jahan, early 16th century, repainted 1645.jpg|thumb|''[[Sa'di]] in a [[Rose]] Garden,'' [[Mughal Dynasty]], from the reign of [[Shah Jahan]], early sixteenth century, repainted 1645]]
 +
The depiction of humans, animals or any another figurative subjects is forbidden within Islam to prevent believers from idolatry so there is no religiously motivated painting (or sculpture) tradition within Muslim culture. Pictorial activity was reduced to [[Arabesque]], mainly abstract, with geometrical configuration or floral and plant-like patterns.
 +
Notable illustrator [[M.C. Escher]] was influenced by this geometrical and pattern based art.
 +
[[Art Nouveau]] ([[Aubrey Beardsley]] and the architect [[Antonio Gaudi]]) re-introduced abstract floral patterns into western art.
 +
Note that despite the [[taboo]] of figurative visualization, some muslim countries did cultivate a rich tradition in painting, though not in its own right, but as a companion to the written word. Iranian or Persian art, widely known as [[Persian miniature]], concentrates on the illustration of epic or romantic works of literature.
 +
Persian illustrators deliberately avoided the use of shading and perspective, though familiar with it in their pre-islamic history, in order to abide by the rule of not creating any life-like illusion of the real world. Their aim was not to depict the world as it is, but to create images of an ideal world of timeless beauty and perfect order.
 +
;Iran
 +
In present days, painting by art students or professional artists in [[Arab]] and non-Arab [[Islam|Muslim]] countries follow the same tendencies of Western culture art.
  
−
''Some persons suppose that landscape has no power of communicating human sentiment. But this is a great mistake'' George Innes
+
Paintings of the [[Qajar]] period, are a combination of European influences and [[Safavid]] miniature schools of painting such as those introduced by [[Reza Abbasi]]. Masters such as [[Kamal-ol-molk]], further pushed forward the European influence in Iran. It was during the Qajar era when "Coffee House painting" emerged. Subjects of this style were often religious in nature depicting scenes from Shi'a epics and the like.
  
−
Another member of the Society, Albert Pinkham Ryder, was to invert the landscape further, a painter of the mysteries and moods of the night and the sea, creating works of inner expression. ''Moonlit Cove'' (1880-90) Oil on canvas. Typically it is a work described as ''Expressionist''.
+
===Gallery Islamic landscape art===
 +
<gallery>
 +
Image:Maler der Geschichte von Bayâd und Riyâd 002.jpg|''The history of Bayâd and Riyâd ("Hadîth Bayâd wa Riyâd"),'' Maghrebini manuscript, scene: Bayâd sings to sounds before the lady and its maids, by [[Maler der Geschichte von Bayâd und Riyâd]], thirteenth century
 +
Image:Yahyâ ibn Mahmûd al-Wâsitî 007.jpg|''Maqâmât (meetings) of the al-Harîrî,'' scene: Conversation with Dorfe, by [[Yahyâ ibn Mahmûdal-Wâsitî]], 1237
 +
Image:Iskandar (Alexander the Great) at the Talking Tree.jpg|''Iskandar (Alexander the Great) at the Talking Tree,'' from a manuscript of the ''Shahnama (Book of Kings),'' by [[Firdawsi]], 1330-1340
 +
Image:Miraj2.jpg|Persian miniature painting, 1550 C.E.
 +
Image:Adam and Eve from a copy of the Falnama.jpg|''Adam and Eve'' from a copy of the ''Falnama (Book of Omens,'' by [[Ja´far al-Sadiq]], 1550
 +
Image:Arrivée de Mahomet à La Mecque-Ishâq al-Nishâpûrî-1581.jpg|''Arrival of [[Muhammad|Mahomet]] at [[Mecca]],'' from the ''Qesas Al-anbiya (Stories of prophets),'' [[Ishâq al-Nishâpûrî]], 1581
 +
Image:Uzbekistan, Seated Princess, by Muhammad-Sharif Musawwir, circa 1600 C.E..jpg|''Seated Princess,'' by [[Muhammad-Sharif Musawwir]], circa 1600
 +
Image:Gagarin PropovedMagometGRM.jpg|''[[Muhammad]] preaching,'' by [[Grigory Gagarin]], 1840&ndash;1850
 +
</gallery>
  
−
Frederick Edwin Church's purpose was in showing the public the paradise of the New World. To this end he evoked Claude in composition but made enormous canvases that were put on show at eye level for people to experience this and for which he charged admission. A leaf from Turner's book.
+
===Chinese landscape art and philosophy===
−
As an explorer he journeyed to South America for exotic views, as in the ''Andes of Ecuador'' 1855. He also built ''Olana'' an amber windowed castle of a house, overlooking the Hudson River, opposite the Catskills, decorated with ceramic tiles from Turkey in a blend of ''Gothic'', ''Persian'' and ''Aesthetic Movement'' elements, it stands today, a symbolic shrine to the spiritual and poetic artists in the nineteenth century.
+
[[Image:Freer_024.jpg|thumb|200px|Emperor Minghuang's Journey to Sichuan; this section of a much larger [[Ming Dynasty]] (1368-1644). Chinese handscroll painting on silk shows Tang Minghuang, or Emperor [[Xuanzong of Tang]], fleeing the capital Chang'an and the violence of the [[An Shi Rebellion]] that began in the year 755 during the mid [[Tang Dynasty]]. This handscroll painting is a late Ming copy after an original painting by the renowned Ming artist [[Qiu Ying]] (1494-1552).]]
−
''Twilight in the Wilderness,'' 1860 Oil on canvas, symbolized the mood of America, at that time, an emblem of ''Transcendentalism.'' In his repertoire of unique but spectacular panoramas were, ''Niagara Falls from the American Side,'' 1867 ''Icebergs'' and the ''Aurora Borealis, all Oils on canvas.''
+
The Chinese tradition of "pure" landscape, in which the minute human figure simply gives scale and invites the viewer to participate in the experience, was well established by the time the oldest surviving ink paintings were executed.
  
−
'''Coming of Age'''
+
Chinese painters over a period of fifteen centuries have developed certain methods that are meant for the beginner to learn and practice before any creative departures. The evolution of Chinese painting over many centuries has been continuous whilst making some adjustments for certain other influences. It has established strong traditions and a self generating force.
  
−
Church's greatest rival was Albert Bierstadt, with his sensational paintings of the American West. Born In Germany in 1830 and with his family, moved to America at age two and later returned to Dusseldorf to study painting. On return in 1859, he went on an expedition the explore the Rocky Mountains. The great picture that he made on his return was ''The Rocky Mountain, Lander's Peak,'' 1863, Oil on linen. His style was cool, objective and very detailed and had already been proved by a Swiss painting of '' Lake Lucerne.''  His technique was to make pencil sketches and small oil studies. His brothers ran a photographic studio and he also used a camera. His work was known as new ''Ideal'' landscape as in ''Among the Sierra Mountains, California'' shown in London in 1868, 'not fiction but portraiture', was the reaction. ''Sunset in the Yosemite Valley,'' 1868, Oil on canvas, was described by the artist as the Garden of Eden, 'the most magnificent place I was in,' recalling Cole's ''Expulsion from the Garden of Eden,'' 1827-8, Oil on canvas. As a result of paintings from this area, in 1864, during the Civil War, landscape architect, Frederick Law Olmsted (creator of Central Park, in New York City) drafted a bill for the preservation of Yosemite Valley, for the nation which President Abraham Lincoln  signed into law.
+
The simple use of brush and ink on absorbent paper in monochromatic forms and voids coupled with an exclusive choice of subjects from nature form the basis for this language of art. For thousands of years the Chinese people have been farmers struggling with the changes in nature until they began to seek a way of harmony with those forces which became eventually the philosophy of ''[[Tao|Dao]]'' or ''the Way,'' a fundamental notion that nature and humanity are one.
  
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Thomas Moran, 1837-1926 born in England as Cole, grew up in Philadelphia and in 1860 traveled to Lake Superior. From this trip he gathered material for his ''Hiawatha'' pictures. After producing a series of bright watercolors of Yellowstone's geysers and springs, a law was passed protecting that land from development and his painting Grand Canyon of the Yellowstone and ''The Chasm of the Colorado '' (1892) Oil on canvas. Both massive paintings were purchased by the Congress. This marked the end of the panoramic tradition of the American Sublime.
+
So, artists aspired also to become one with nature, superseding other forms such as figure painting.
 +
As a result Chinese painting came to have universal appeal. The artist intends the landscape not just for viewing but for a more spiritual journey.
  
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'''A New Century, New Ideas.'''
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===Gallery Chinese landscape art===
 +
<gallery>
 +
Image:Freer_020.jpg|''Tao Yuanming Returning to Seclusion'', a Chinese handscroll painting on silk, from the late Northern [[Song Dynasty]], early 12th century.
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Image:Zhao Meng Fu Autumn Colors Part1.jpg|''Autumn Colors Part 1'', by [[Zhao Meng Fu]]
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Image:Zhao Meng Fu Autumn Colors Part2.jpg|''Autumn colors Part 2'', by [[Zhao Meng Fu]]
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Image:Chao Meng-fu 001.jpg|''Autumn colors Part 3'', by [[Zhao Meng Fu]], 1295 
 +
Image:Xia Gui Remote View.jpg|''A Far view of stream and mountains'', by [[Xia Gui]], (1195–1224)
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Image:Rimpa-SpringLandscape.jpg|Spring Landscape Rimpa School, 18th century six-panel screen ink, gofun and gold leaf on paper.
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Image:Freer 019.jpg|Peach Festival of the Queen Mother of the West, [[Ming Dynasty]] early 17th century, by an anonymous artist.
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Image:Peonies by Yun Shouping.jpg|''Peonies'', by [[Yun Shouping]], late 17th century, [[Qing dynasty]]
 +
</gallery>
  
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Winslow Homer another great painter began as an illustrator in Boston and served as an artist during the Civil War, he was famous foe wood engravings and soon his oils and watercolors became as popular. He travelled extensively and saw Japanese prints in France and took the best ideas of the west and the east and made them his own. He described the physical phenomena of the sea with spontaneity in both watercolor and oil. His ''West Point, Prout's Neck,'' 1900, Oil on canvas, combined these elements of style, a new vision for a new century.
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===Japanese painting traditions===
 +
As nearly all forms of art, Japanese early painting had been under the influence of the Chinese culture. By and by, new and specifically Japanese styles were developed and painting schools were established. Each school practiced their own style. But the Chinese influence remained strong until the beginning of the [[Edo]] period (1603-1867). There is a general term to describe painting in Japanese style - ''[[yamato-e]].''
 +
;Painting Schools and Styles
  
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'''Turn of the century trailblazers'''
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* ''[[Suibokuga]]'' or ''[[Sumi-e]],'' is the term for painting in black ink. It was adopted from [[China]] and strongly influenced by [[Zen Buddhism]]. During the fifteenth century [[ink]] painting gained a more Japanese style of its own.
  
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From the 1890s through the 1910s, American Impressionism flourished in art colonies—loosely affiliated groups of artists who lived and worked together and shared a common aesthetic vision. Art colonies tended to form in small towns that provided affordable living, abundant scenery for painting, and relatively easy access to large cities where artists could sell their work. Some of the most important American Impressionist artists gathered at Cos Cob and Old Lyme, Connecticut, both on Long Island Sound; New Hope, Pennsylvania, on the Delaware River; and Brown County, Indiana. American impressionist artists also thrived in California at Carmel and Laguna Beach; in New York on eastern Long Island at Shinnecock, largely due to the influence of William Merritt Chase; and in Boston where Edmund Charles Tarbell and Frank Weston Benson became important practitioners of the impressionist style.
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* [[Kano Masanobu]] (1453-1490) and his son [[Kano Motonobu]] (1476-1559) established the [[Kano painting school]]. It began as a protest against the Chinese ink painting technique in black. The Kano school used bright [[color]]s and introduced daring compositions with large flat areas that later should dominate the ''ukiyo-e'' designs. The Kano school split into several branches over the time, but remained dominant during the Edo period. Many ''ukiyo-e'' artists were trained as Kano painters.
  
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'''Ten American Painters or The American Ten or The Ten''' - A group of American painters from New York and Boston who exhibited together from 1898-1919. They had been members of the Society of American Artists, but resigned from this organization upon deciding that its exhibitions were too too large and conservative. Most of the Ten had studied in Paris in the 1880s and were greatly influenced by French Impressionism. The Ten were were: Thomas E. Dewing (1851-1938), Edward E. Simmons (1852-1931), Julien Alden Weir (1852-1919), John Henry Twachtman (1853-1902), Joseph R. De Camp (1858-1923), Willard L. Metcalf (1858-1925), Childe Hassam (1859-1935), Frank Benson (1862-1951), Robert Reid (1862-1929), and Edmund C. Tarbell (1862-1938); with William Merritt Chase (American, 1849-1916) taking the place of Twachtman upon his death.
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* The ''[[nanga]]'' painting style was strong at the beginning of the nineteenth century during the ''[[bunka]]'' and ''[[bunsai]]'' era. The advocates of this style painted idealized landscapes and natural subjects like birds and flowers for a cultural elite. The style was rather Chinese.
  
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Ohio-born Charles Burchfield was one of the great artistic visionaries of the twentieth century. Inspired by Leon Bakts' designs for ballet and Chinese scroll painting and after moving from Ohio to Buffalo, New York, from 1915-21 he produced a unique body of work. In 1963 he stated, "An artist must paint, not what he sees in nature, but what is there. To do so he must invent symbols......"
+
Japanese painters used a wide variety of media over the centuries. The only one not used until the late nineteenth century, is the Western style framed canvas.
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''Decorative Landscape, Hot Morning Sunlight'' (Posts' Woods) Water Color on Paper, started in pencil and colored later.  His, is the first great painting of our heartland. With a career that spanned half a century, he never became abstract and regarded painting as a moral and spiritual act.These unusual paintings of nature, seem to be giving off vibrations from the trees, flowers and plants.
 
  
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Edward Hopper stayed away from abstraction too and as a student in 1900 at the New York School of Art, traveled to Europe and later worked as a commercial artist in the City. He first showed with etchings and later oils. ''The Camel's Hump'' (1931) Oil on canvas, exemplified his idea that, "My aim in painting has always been the most exact transcription possible of my most intimate expressions of nature." Hopper is the starting point for the later, Realists.
+
Japanese paintings may evoke an association with landscapes and natural scenes drawn with a few simple brush strokes.
  
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Maxfield Parrish as an illustrator was in great demand and his landscapes looked magical, idealistic and theatrical and many were invented from models. However, he really wanted to concentrate on painting landscapes and at age sixty four began a series of paintings for Brown and Bigelow, greeting card publishers. In 1934 he painted  ''Elm, Late Afternoon'' paving the way for a relationship which lasted for thirty years, through ill health and arthritis and he stopped at ninety one, passing away in 1966, a career of, seventy five years. His  ''Daybreak'' first reproduced in 1923, remains one of the most beloved images of all time and made him a princely sum for his day.
+
===Gallery Japanese landscape art===
 +
<gallery>
 +
Image:Gyokuraku Hotei.jpg|''Winter Landscape, Hotei, and Summer Landscape'', by [[Kano Gyokuraku]], circa 1575. Hanging scrolls. Ink and pigments on paper.
 +
Image:Shunkeizu.jpg|春景図 (Spring Landscape), Hanging scroll: Ink and tint on silk, by 狩野探幽 [[Kano Tan'yu]], 1672
 +
Image:SesshuToyo.jpg|''Shukei-sansui (Autumn Landscape)'', by [[Sesshu Toyo]]
 +
Image:The Great Wave off Kanagawa.jpg|Modern recut copy of ''Behind the Great Wave at Kanagawa'', original by [[Katsushika Hokusai]], 1829
 +
</gallery>
  
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'''The first Moderns'''
+
===Korean landscape painting===
  
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Marsden Hartley was one of the first great modern painters, although an itinerant, constantly struggling with his personal life and finances and unable to settle, he alternated between Nova Scotia, Maine, New England and New York. His paintings of ''The Last Stone Walls, Dogtown'' (Gloucester, Mass.) 1936-7, oil on canvas, reminiscent of Pynkham Ryder, point the way to future modernism.
+
The study and appreciation of Korean art is still at a formative stage in the West. Because of [[Korea]]’s [[geography|geographical]] position between [[China]] and [[Japan]], Korea was seen as a mere conduit of Chinese culture into Japan. However, scholars have begun recently to acknowledge Korea’s own unique art culture and important role in not only transmitting Chinese culture but creating distinctive styles as well.
  
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Charles Sheeler, born 1883, studied with William Merritt Chase at the Pennsylvania Academy of the Fine Arts as did other great painters of the period. He later worked as an architectural photographer to supplement his painting and used photographs as source material for paintings and drawings throughout his career. In 1937 he wrote, "Photography is nature seen from the eyes outward, painting from the eyes inward."  ''View of Central Park'' 1932 Conte crayon, based on a photograph and took on the quality of a photo, a taste of what would become Photo-Realism thirty years later.
+
While studies on Korean aesthetics are rare, a useful place to begin understanding of how Korean art developed as an aesthetic is in Korean philosophy, and related articles on [[Korean Buddhism]], and [[Korean Confucianism]]. To the Korean painter brush-strokes are far more important than they are to the western artist; and paintings are judged on individual brush-strokes more often than pure technique.  
  
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'''American Regionalism, the Mid-West'''
+
Generally the history of Korean painting is dated to approximately 108 C.E., when it first appears as an independent form. Until the [[Joseon Dynasty]] the primary influence was Chinese painting although done with Korean landscapes. Most of the early notable painters in Japan were either born in Korea or trained by Korean artists during the [[Baekje]] era as Japan assimilated Korean culture without restraint at that time.
 +
[[Image:Korean Painting.JPG|thumb|200px|Privately owned Korean-style painting drawn by a modern Korean artist.]]
 +
Throughout the history of Korean painting, there has been a constant separation of monochromatic works of black brushwork on very often [[mulberry paper]] or [[silk]]; and the colorful folk art or ''[[min-hwa]],'' [[ritual arts]], [[tomb paintings]], and[[ festival arts]] which had extensive use of color. This distinction was often class-based. Scholars, particularly in [[Confucianism|Confucian]] art felt that one could see color in monochromatic paintings within the gradations of [[ink]] and felt that the actual use of color coarsened the paintings, and restricted the imagination.
  
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Grant Wood's ''Fall Plowing'' 1931 Oil on canvas, at a time of great financial depression shows an ideal mid-western agrarianism. grant Wood, Thomas Hart Benton and John Steuart Curry are considered  the trinity of Regionalism, an anti-dote to modern art. Wood had studied Flemish art and was highly stylized but Alexandre Hogue made stronger comments on the abuse and exploitation of the land with his  ''The Crucified Land'' 1939 Oil on canvas, and paintings of the Dust Bowl.
+
Korean painters in the post-1945 period have assimilated some of the approaches of their western counterparts. Certain [[Europe]]an [[artist]]s using a thick [[impasto]] technique and foregrounded brush-strokes captured the Korean interest. Such artists as [[Paul Gauguin]], [[Adolphe Joseph Thomas Monticelli|Adolphe Monticelli]], [[Vincent Van Gogh]], [[Paul Cezanne]], [[Camille Pissarro]], and [[Georges Braque]] have been highly influential as they have been the most taught in art schools, with books both readily available and translated into Korean early.
  
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Georgia O'Keefe who'd made her mark in New York City with her enlarged and close-up flower paintings moved to New Mexico permanently, after her husband, photographer, Alfred Stieglitz's death in 1946. Moving between abstraction and realism she portrayed the Southwest and the desert with sensuality and ambiguity as in ''Black Place 11''  Oil on canvas.
+
The expected genres of [[Buddhist art]] showing the [[Buddha]], or [[Buddhist monks]], and [[Confucian art]] of scholars in repose, or studying in quiet often mountainous surroundings follows general [[Asia]]n art trends.
  
−
''' Cape Cod'''
+
Hunting scenes, familiar throughout the entire world, are often seen in Korean courtly art, and are reminiscent of [[Mongolian]] and [[Persian]] hunting scenes.
  
−
Milton Avery, with the intensity of O'Keefe and mainly self-taught he painted almost abstract, sweet natured views of the New England coast. His reductive style, from small sketches to water colors to oils, led to free and lyrical poems of nature, vis a vis,
+
;Baejke painters
−
''Tangerine Moon and Wine Dark Sea,'' 1959, Oil on canvas. His work led to the pure abstract fields of color painted by his friend, Mark Rothko.
+
Yi painted alongside and influenced the originals of Japanese zen art; and was known in Japan by his Japanese name [[Ri Shubun]] or the Korean ''Bhubun.'' Descent of Japanese zen painting thus can be traced to: [[Yi su-mun]] (Ri Shubun), alongside [[Josetsu]] and [[Sesshu]] who was taught by Yi su-mun.
  
−
Edwin Dickinson, ''Rock Edge Palisades'' 1953 Oil on canvas, was another artist whose tone poems seem to belong both to the 1980s and to the 1880s both. He was a master of tonality and delicate chromatic shifts, who'd studied as had O'Keefe, with William Merritt Chase but belonged to no one group and produced some of the most dream-like images of the twentieth century.
+
;Joseon Dynasty painting
 +
Mid-dynasty painting styles moved towards increased realism. A national painting style of landscapes called "true view" began - moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered. While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting.
  
−
'''Towards Realism and a new Realism'''
+
The list of major painters is long, but most notable names include [[Jeong Seon]] (1676-1759), a literati painter influenced by the[[ Wu school]] of the [[Ming dynasty]] in China; much taken by the [[Diamond mountain]] landscape. [[Shin Yun-bok]] (b. 1758), a court painter who did paintings often of the scholarly or ''[[yangban]]'' classes in motion through stylized natural settings; he is famous for his strong reds and blues, and grayish [[mountain-scapes]].
  
−
Andrew Wyeth for all the argument about his work is indeed a painter of significance and realism. Whilst the son of the great illustrator NC Wyeth and in the tradition of Howard Pyle and Albrecht Durer, he is a superb draftsman and master craftsman. At first his work was thought of as photographic but with the advent of Photo Realism (in the 1970s) it was realized just how interpretive he was. ''Ring Road'' 1985, Tempera, shows an almost Oriental feeling and abstraction. However, his work is always painterly and tactile.
+
[[North Korean]] painters who escaped to the United States in the 1950s include the [[Fwhang]] sisters. [[Duk Soon Fwhang]] and [[Chung Soon Fwhang O'Dwyer]] avoid overtly political statements in favor of tempestuous landscapes, bridging Western and Far Eastern painting techniques.
  
−
In the mid-nineteen fifties and sixties came a shift from abstract to figurative painting on both the East and West coasts. In California, the influences included Matisse; Richard Diebenkorn,  ''View From a Porch'' Oil on canvas, 1959, Wayne Thiebaud, ''Coloma Ridge,'' 1967-68, Acrylic and Pastel on canvas David Park, Elmer Bischoff,  ''Landscape Afternoon'' 1959 Oil on canvas, Paul Wonner, James Weeks and Theophilus Brown, West Coast realists from the fifties, in the late sixties, became known as the Bay Area figurative painters. In the East, the Abstract Expressionists had held sway but that began to change too.
+
===Gallery Korean landscape art===
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Faifield Porter's beautiful  ''Island Farmhouse,''  1969 Oil on canvas, he claimed, was a 'reformed Realism.' Others artists, included, Phillip Pearlstein, who later became a painter of realistic nudes and his ''Monument Valley'' a 1976 Watercolor. Gabriel Laderman, came to realism from abstraction and is known for his intellectual, cool style, as is his  ''West Dover,''  1968, Oil on canvas. Neil Welliver is a widely known painter and is known for his large paintings of the wilds of northern Maine, as in,  ''Late Squall'' 1984, oil on canvas. Alex Katz well known for his slick portraits has produced a large number of landscapes, since the fifties, often using collage. ''Full Moon,'' 1987, Oil on canvas, being an exception.
+
<gallery>
 +
Image:Kumgangsan by cheongseon.jpg|''[[Geumgangsan]]'', ink and oriental watercolor on paper, by [[Jeong Seon]], 1734
 +
Image:Maehwaseo.jpg|''"Maehwaseookdo'', by [[Jo Hee-ryong]]
 +
Image:Hwangmyo.jpg|''Hwangmyonongjeopdo'', by [[Kim Hong-do]], late 18th century
 +
Image:Joyucheong.jpg|''Juyucheonggangdo'', by [[Shin Yun-bok]], 1805
 +
</gallery>
  
−
'''Painterly Realism, Romantics and Expressionists'''.
+
==The Importance and impact of Landscape painting==
  
−
Artists such as James Weeks,  ''Berkshire Landscape''  1972-3 Acrylic on canvas, developed from Abstract Expressionism and were known as 'painterly.' The Bay Area artists never lost their painterly traits since the fifties. Others include; Jane Freilicher  ''Thicket and Field''  1984 Oil on canvas, Paul Reiska, ''Horseleech Pond, Indian Red Sky'', 1984, Oil on canvas, Vincent Arcilesi, Grand Canyon, 1975, Oil on canvas, George Nick  ''Over Pemigewasset River'' 1986 Oil on canvas, Richard Crozier  ''Owlshead from Mount Battie'' 1986, Oil on canvas, and the plein-air premier-coup paintings of Nebraska by Keith Jacobshagen, such as,  ''N.W. 84th St. & Agnew Rd''  1983 Oil on paper.
+
In the need to represent nature comes the need to show it. We all wish to share that which we love and landscapes are no exception. When gazing on a [[Chinese]] panorama in some long dim past dynasty, surely we share and relive the emotions felt by that artist. This way is the way not only of feeling but of intelligence for we now begin to learn of our history far and wide. The artist becomes a recorder of feelings and fact, delving into the mysteries of how things are and come to be.
−
Others include, from the eighties, Don Nice, Sheila Gardner, Susan Shatter, John Gordon, and William Nichols,
 
  
−
Representing those painters that render the precise image are, Rackstraw Downes with his,  
+
Landscape painting not only gives us a view into this material universe with an image frozen in time and space but takes us back to that very moment of its conception. Not only [[history]] but [[philosophy]] and even religion may be embedded with the artist's individual stamp, thoughts and ideas. [[Science]] too is present, in an examination of a scene, it's light, form and color, skillfully rendered by the painter, akin to the [[botanical illustrator]]. Most of all we feel the emotion of one standing in awe, striving to bring that moment to life, reborn in another form, the painting, a work of art.
−
''Dragon Cement Plant, Maine,'' 1986, Oil on canvas and Richard Estes who works from photos but without mechanical aids and is known as a Photo-Realist, with  ''Central Park''  1987 Oil on canvas. William Beckman, Marjorie Portnow, Altoon Sultan, Ben Burns and many others in the eighties worked in this strict realistic style, working from photographs or no.  
 
  
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The Romantics however were more instinctive in approach, as in Jack Beale's ''Dark Pool''  1980, Pastel on paper. Russell Chatham, ''Winter Evening'' 1980, Oil on canvas and Robert Jordan
+
For many, the tranquil depictions of [[nature]] give respite and relaxation, calming of the [[soul]] and [[spirit]] in one's own home. Yet, more than a sense of wonder is felt in the public and private galleries of art. Moreover, we now experience in this [[modern life]], more and more, not only the visions of this [[physical creation]] but also the [[abstract]], [[exploration]] and [[landscapes]] of our [[inner worlds]], as noted by current [[abstract art]]ist, Jan Parker.
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''The Trail to Champney Falls,''  1981, oil on canvas are also atmospheric as are; Richard Chiriani, David Ligare, Bonnie Sklarski, who with Juan Gonzalez add allegory to the mix. Not to forget Paul Wonner's  ''Twenty-seven Studies for Romantic Views of San Francisco'' 1980 Acrylic on paper.
 
  
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Bernard Chanet, ''Changing'' 1986 Oil on canvas, is one of those that has carried forward the great Expressionist art of the past, Alfred Leslie with, ''Approaching the Grand Canyon''  1977-81, A series of five watercolors from  ''100 Views Along the Road'' reveal the spirit of the landscape whilst Wolf Kahn  ''Barn Atop a Ridge''  1987 Oil on canvas, has stated that he wanted to "do Rothko over again from nature," and his oils and pastels, shimmer in fields of color. Neil Blaine, ''Gloucester Harbor from Banner Hill,''  1986, oil and many more work in these highly expressive styles.
+
The great romantic, [[Lafcadio Hearn]] wrote from [[Japan]], a century ago:
  
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'''The rebirth of impressionism in America: The 1950s and beyond.'''
+
<blockquote>…As the scene, too swiftly receding diminishes, … I vainly wish I could buy this last vision of it … and delight my soul betime with gazing thereon.</blockquote>
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In the 1950s, a quarter of a century after the death of Monet, major museums in America started having exhibitions of the original French Impressionists paintings, and in so doing Impressionism was reborn. The resurgence of interest in Impressionism continues to this day, and is especially evident in the continued popularity of plein-air painting.
 
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−
'''Tradition continues.'''
 
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In the Hudson Valley region today are many painters continuing the tradition of those pioneers of the past. Amongst them are two artists who have taught at the State University of New York at New Paltz, in the Fine Arts program. This college sits in view of the beautiful Shawgunk Mountain ridge, with it's famous Mountain House and a favorite of international climbers, at the beginning of the Catskill mountain chain.
 
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These views inspire Alex Martin, with his studies in oil and watercolors and other media, of the effects that light and local skies have on the scenes in the valleys and on the mountains. His paintings are full of gesture and reflect the colors and hues of earlier Impressionists and Abstract Impressionists.
 
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Another former lecturer, George Wexler, who had real experience as a New York City, Abstract Impressionist, travels further afield to find his subject matter. Finding accessible views all over the Hudson River Valley area, he now paints, in oils, in a much more realistic, almost photo-realistic, manner. He would be the first to admit as he has done, 'that it's impossible to paint every leaf, so that realism is really a mis-nomer.' Both artists like to paint plein air and finish work in the studio.
 
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In the new Century, painters continue to reveal the American landscape, rural and urban in every style and medium available in this great time of technical innovation.
 
−
There are still those who stay with the true and tried method of plein air and or working from sketches, water colors, pastels etc., back in the studio.
 
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One such California artist is, Dory Grady, who at 70 years of age continues to work from nature in this ageless method. She also teaches on a regular basis and is currently writing an auto biography. A long time resident of Eagle Rock, she is mentioned in the same breath as other celebrities who've made their home there.
 
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Quoted from her web-site: Extremely versatile, she is equally comfortable with drawing, oil, watercolor, acrylic, silkscreen, etching or lithographic printmaking.
 
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Her work is defined, not by a style, but rather by continual experimentation, growth and change. The only constant is her focus on the natural world.
 
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Says Dory,
 
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My 30 years of art shows in Boddy House Gallery is my contribution to renewal of the Human Spirit, surrounded by nature.
 
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Art is not created, it is achieved.
 
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It is the product of talent and relentless practice, tempered by years of training.
 
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But even then, you give more.
 
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You give your soul.
 
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Dory can be found at http://www.gallerygrade.com/
 
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'''The Inner Landscape'''
 
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Other artists who work with an abstract or surrealistic style to explore the inner landscapes of ourselves and our imagination, include; Jan Parker in Hawaii and Benny Andersson in New Jersey.
 
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Benny Andersson paints "visual prayers, intended to promote deep reflection and healing within the viewer and to have a spiritual and uplifting effect on the soul, to keep dreams alive."
 
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He likes to see artists as "messengers of truth and beauty."
 
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His landscapes, full of unique imagery, cosmic and earthly visions, recall Hieronymus Bosch and are endowed with transparent colors as clear as glass. Unlike Bosch, He shows us worlds free from danger, impurity and abuse  and allows us to see nature as through the eyes of the newborn child.
 
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Hailing from Sweden originally, he has lived and worked in the USA for thirty years, exhibiting in both lands, including Japan. His titles give clues to their content as in  ''Rites of Eternal Harmony''  Acrylic on canvas and  ''The Great Beyond,''  Acrylic on canvas. In Cheongpyeong, South Korea, he was commissioned to create two large paintings for a newly built palace there. The subjects were; ''God's Ideal in the Spirit World'' and ''God's Ideal World on Earth''  2005-06.
 
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Benny can be found at,
 
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http:www.manhattanarts.com/Gallery/BennyAndersson.htm
 
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www.artmarketing.com/gallery/andersson
 
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Jan Parker is an English artist also working in the US for thirty years and now resident in Hawaii,
 
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Currently he is painting in a purely abstract style reminiscent of the Abstract Impressionists, such as Mark Rothko. He does this with a concentration on light and color brightly interacting together and has had great success in Japan with his new series trilogy. Following a serious illness he said, "the overwhelming existence that saved my life is indescribable in words, it could only be described in painting."
 
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Since marrying, his Japanese wife, Sawako, who previously had bought one of his paintings following a deep experience from it, he found the support he needed to make this new leap of faith into a new experience of painting.
 
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His ''impasto'' style is as his feeling, that 'painting ought to look like it has been painted' and convey the sense of the vibrations transmitted by the Divine.
 
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He has said; "To me God is the greatest artist of all."
 
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A red field of fire and passion with a high horizon of pinks and yellow and a sliver of blue, entitled ''God is King Of Kings'' Acrylic on canvas, 2005, is the cover of the catalog on the ''Portrait of God'' series.
 
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Whilst the cover of the ''Color of God'' series dances across the book in vibrant waves of many colors and hues, from ''Color of God'' No 14, Oil, 2006.
 
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These paintings have been inspired by the essence of true love that I have experienced in nature, he writes.
 
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The ''Heart of God'' will be seen in Spring, 2008.
 
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== Other Nations, other landscapes ==
 
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Whilst Europe, Asia and The United states of America, hold a central place in the public eye and in the general History of Art, other civilizations have some elements of landscape painting in varying degrees. In India and Persia and Turkey, these are mostly found in jewel-like miniature paintings, in which depictions of flora and lanscape appear. In India, Bhudda is often in the relief carvings of stupas or shrines, depicted sitting beneath a tree, under which his mother Maya gave birth to him. In Indian Mogul art are  ''Lovers in a Landscape'' c.1760-70, Miniature, New Delhi, National Museum.
 
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== Canada ==
 
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As explorers, naturalists, mariners, merchants and settlers arrived on the shores of [[Atlantic Canada]] in the early centuries of its exploration, they were confronted by what they saw as a hostile and dangerous environment and an unforgiving sea. These Europeans tried to cope with the daunting new land by mapping, recording and claiming it as their own. Their understanding of the specific nature of this land and its inhabitants varied greatly, with observations ranging from highly accurate and scientific to outlandish or fantastic. These observations are documented in the landscape works they produced.
 
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In more recent times some of the best examples of Canadian landscape art can be found in the works of the [[Group of Seven|Group of Seven]].<ref>"Landscapes" in [http://www.collectionscanada.ca/virtual-vault/026018-119.01-e.php?q1=Landscape&PHPSESSID=709io6475tfesngi2m7226o454 Virtual Vault], an online exhibition of Canadian historical art at Library and Archives Canada</ref>and the British Columbia forest-scapes of Emily Carr.
 
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The indigenous peoples of Canada, the Inuit and First Nation, created their art work as part of their daily lives and did not have languages for art. In examples of hunting and fishing, the waters and other natural elements are a backdrop to the action.
 
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''"Artistic expression is a spirit, not a method, a pursuit, not a settled goal, an instinct, not a body of rules."'' - Foreward, Group of 7 Exhibition of Paintings, exhibition catalogue, Art Gallery of Toronto, 1922.
 
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Amongst the thousands of artists that have worked in these extensive and vast lands, here are a few, some who have been influenced by European and American traditions and a few who have created their own.
 
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== Latin America ==
 
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== Australia ==
 
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== Russia ==
 
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==The Importance of Landscape painting==
 
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In the need to represent nature comes the need to show it. We all wish to share that which we love and landscapes are no exception. When gazing on a Chinese panorama in some long dim past dynasty, surely  we share and relive the emotions felt by that artist. This way is the way not only of feeling but of intelligence for we now begin to learn of our history far and wide. The artist becomes a recorder of feelings and fact, delving into the mysteries of how things are and come to be.
 
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Landscape painting not only gives us view into this material universe in an image frozen in time and space, but takes us back to that very moment of it's conception. Not only history but philosophy and even religion may be embedded with the artists' individual stamp, thoughts and ideas. Science too is present, in an examination of the scene, it's light, form and color skillfully rendered by the painter, akin to the botanical illustrator. Most of all we feel the emotion of one standing in awe, striving to bring that moment to life, reborn in another form, the painting, a work of art.
 
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For many, the tranquil depictions of nature give respite and relaxation, calming of the soul and spirit in one's own home. Yet, more than a sense of wonder is felt in the public and private galleries of art. Moreover, we now experience in this modern life, more and more, not only the visions of this physical creation but also the abstract, exploration and landscapes of our inner worlds, as noted by current artist Jan Parker.
 
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The great romantic, Lafcadio Hearn wrote from Japan, a century ago:
 
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....As the scene, too swiftly receding diminishes,....I vainly wish I could buy this last vision of it,,,,,and delight my soul betime with gazing thereon.
 
  
 
==Related ''-scapes''==
 
==Related ''-scapes''==
  
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*[[Vedute]] is the Italian term for ''view'', and generally used for the painted landscape, often cityscapes which were a common 18th century painting thematic.
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*''[[Vedute]]'' is the Italian term for ''view,'' and generally used for the painted landscape, often cityscapes which were a common eighteenth century painting thematic.
 
*[[Skyscape]]s or [[Cloudscape (art)|Cloudscape]]s are depictions of clouds, weatherforms, and atmospheric conditions.
 
*[[Skyscape]]s or [[Cloudscape (art)|Cloudscape]]s are depictions of clouds, weatherforms, and atmospheric conditions.
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*[[Moonscape]]s show the landscape of a moon.
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*[[Moonscape]]s show the landscape of a [[moon]].
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*[[Seascape]]s depict oceans or beaches.
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*[[Seascape]]s depict [[ocean]]s or beaches.
 
*[[Riverscape]]s depict rivers or creeks.
 
*[[Riverscape]]s depict rivers or creeks.
 
*[[Cityscape]]s or townscapes depict cities (urban landscapes).
 
*[[Cityscape]]s or townscapes depict cities (urban landscapes).
 
*[[Hardscape]]s are paved over areas like streets and sidewalks, large business complexes and housing developments, and industrial areas.
 
*[[Hardscape]]s are paved over areas like streets and sidewalks, large business complexes and housing developments, and industrial areas.
 
*[[Aerial landscape]]s depict a surface or ground from above, especially as seen from an airplane or spacecraft. (When the viewpoint is directly overhead, looking down, there is of course no depiction of a horizon or sky.) This genre can be combined with others, as in the aerial [[cloudscape art|cloudscape]]s of [[Georgia O'Keeffe]], the aerial [[moonscape]]s of [[Nancy Graves]], or the aerial [[cityscape]]s of [[Yvonne Jacquette]].  
 
*[[Aerial landscape]]s depict a surface or ground from above, especially as seen from an airplane or spacecraft. (When the viewpoint is directly overhead, looking down, there is of course no depiction of a horizon or sky.) This genre can be combined with others, as in the aerial [[cloudscape art|cloudscape]]s of [[Georgia O'Keeffe]], the aerial [[moonscape]]s of [[Nancy Graves]], or the aerial [[cityscape]]s of [[Yvonne Jacquette]].  
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*[[Inscape (visual art)|Inscape]]s are landscape-like (usually [[surrealist]] or [[abstract art|abstract]]) artworks which seek to convey the psychoanalytic view of the mind as a three-dimensional space. [For sources on this statement, see the [[Inscape (visual art)]] article.]
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*[[Inscape (visual art)|Inscape]]s are landscape-like (usually [[surrealist]] or [[abstract art|abstract]]) artworks which seek to convey the psychoanalytic view of the mind as a three-dimensional space. For sources on this statement, see the Inscape (visual art) article.
  
 
==Notes==
 
==Notes==
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==References==
 
==References==
  
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* Arthur, John. ''Spirit of Place, Contemporary Landscape Painting & The American tradition'' 1989. Bullfinch Press ISBN 0-821-21707-0
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* Arthur, John. ''Spirit of Place, Contemporary Landscape Painting & The American tradition.'' Bullfinch Press, 1989. ISBN 0821217070
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* Bazarov, Konstantin, ''Landscape painting'',1981.  London: Octopus Books; NY: Mayflower Books, OCLC 8686498
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* Bazarov, Konstantin. ''Landscape painting.'' London: Octopus Books; NY: Mayflower Books, 1981. OCLC 8686498
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* Brigante, Guiliano, ''The View Painters of Europe'', Phaidon Press Ltd., 1979. ISBN 0-714-81407-5
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* Brigante, Guiliano. ''The View Painters of Europe.'' Phaidon Press Ltd., 1979. ISBN 0714814075
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* Carli, Enzo. ''The Landscape In Art, from 3,000 B.C.E. to Today'' 1979 Arnoldo Mondadori Editore S.p.A., Milano  English translation copyright Arnoldo Mondadori Editore S.p.A.,Milano ISBN 0-688-03678-3
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* Carli, Enzo. ''The Landscape In Art, from 3,000 B.C.E..E. to Today.'' Milano: Arnoldo Mondadori Editore S.p.A., English translation copyright Arnoldo Mondadori Editore S.p.A., Milano, 1979. ISBN 0688036783
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* Clark, Sir Kenneth, ''Landscape into Art'', [[Slade Professor of Fine Arts|Slade Lectures]],1949. Harper and Row, ISBN 0-060-10781-2
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* Clark, Sir Kenneth. ''Landscape into Art.'' [[Slade Professor of Fine Arts|Slade Lectures]], Harper and Row, 1949. ISBN 0060107812
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* Dreikausen, Margret, [http://www.worldcatlibraries.org/wcpa/ow/d729543b2ed70922.html "Aerial Perception: The Earth as Seen from Aircraft and Spacecraft and Its Influence on Contemporary Art"]1985 (Associated University Presses: Cranbury, NJ; London,; Mississauga, Ontario:) ISBN -879-82040-3
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* Jeffares, Bo. ''Landscape Painting.'' NY: Mayflower Books Inc., 1979. ISBN 0831754133
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* Guggenhein Museum, ''Russia! Nine Hundred Years of Masterpieces and Master Collections'' 2005, Guggenheim-Museum publications, ISBN 0-89207-329-2
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* Kiers, Judikje, and Tissink Fieke. ''The Golden Age of Dutch Art.'' Thames and Hudson Ltd., 2000. ISBN 0500237743
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* Jeffares, Bo ''Landscape Painting'' 1979.  Mayflower Books Inc. NYC ISBN 0-831-75413-3
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* Leonard, Elizabeth. ''Painting the Landscape.'' Watson-Guptill Publications, 1984. ISBN 0823036553
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* Kiers, Judikje; Fieke, Tissink, ''The Golden Age of Dutch Art'', Thames and Hudson Ltd., 2000. ISBN 0-500-23774-3
+
* McShine, Kynaston, Ed. ''The Natural Paradise, Painting in America 1800-1950.'' NY: The Museum of Modern Art, 1976. ISBN 0870705059.
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* Leonard, Elizabeth ''Painting the Landscape'' 1984. Watson-Guptill Publications, ISBN 0-8230-3655-3
+
* Newlands, Anne. ''Canadian Art, From its beginings.'' Firefly Books Ltd., 2000. ISBN 1552094502
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* McShine, Kynaston. Editor. ''The Natural Paradise, Painting in America 1800-1950'' 1976. The Museum of Modern Art, New York.. ISBN 0-870-70505-9.
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* Novak, Barbara. ''Nature and culture: American landscape and painting, 1825-1875.'' Oxford University Press, 1980. ISBN 0195026063
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* Newlands, Anne, ''Canadian Art, From its beginings.'' Firefly Bokks Ltd., 2000, ISBN 1-55209-450-2
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* Ruskin, John. ''Modern Painters, Vol. 3 Of Many Things.'' "Of the novelty of landscape." Adamant Publishing, 2000. ISBN 142122903X
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* Novak, Barbara, ''Nature and culture: American landscape and painting, 1825-1875'',1980. NY: Oxford University Press,   ISBN 0-195-02606-3
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* Shanes, Eric. ''Turner The Masterwoks.'' Portland House, 1990. ISBN 0517015099
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* Shanes, Eric, ''Turner The Masterwoks'' Portland House, 1990. ISBN 0-517-01509-9
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* Sullivan, Edward J., Ed. ''Latin American Art, in the Twentieth Century.'', Phaidon Press Ltd., 1996. ISBN 0714832103
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* Sullivan, Edward J., Editor, ''Latin American Art, in the Twentieth Century'' Phaidon Press Ltd., 1996, ISBN 0-7148-3210-3
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* Wilton, Andrew, T. J. Barringer, Tate Britain (Gallery); [[Pennsylvania Academy of the Fine Arts]]. Minneapolis Institute of Arts. [http://www.worldcatlibraries.org/oclc/49917942&referer=brief_results ''American sublime: landscape painting in the United States, 1820-1880''] (Princeton, NJ: [[Princeton University]] Press, 2002. ISBN 0691096708
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* Wilton, Andrew;  T J Barringer;  Tate Britain (Gallery); [[Pennsylvania Academy of the Fine Arts]].;  Minneapolis Institute of Arts. [http://www.worldcatlibraries.org/oclc/49917942&referer=brief_results ''American sublime : landscape painting in the United States, 1820-1880''] ([[Princeton, NJ]] : [[Princeton University]] Press, 2002. ISBN 0-691-09670-8
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* Wilton, Andrew, and Tim Barringer. ''American Sublime, Landscape Painting in the United States, 1820-1880.'' Princeton University Press, 2002. ISBN 0691096708
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* Wong, Wucius, ''The Tao of Chinese Painting, Principles & Methods'', Hong Kong, Everbest Printing Co. Ltd.; NY: Design Press, 1991. ISBN 0-830-69010-7
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*Winchester, Simon. ''Krakatoa, The Day the World Exploded, 27 August 1883.'' The Penguin Group, 2003. ISBN 0670911267
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* Wilton Andrew & Tim Barringer 2002 ''American Sublime, Landscape Painting in the United States, 1820-1880''Princeton University Press ISBN 0-691-09670-8
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* Wong, Wucius. ''The Tao of Chinese Painting, Principles & Methods.'' Hong Kong: Everbest Printing Co. Ltd.; NY: Design Press, 1991. ISBN 0830690107
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* Winchester, Simon, 2003, ''Krakatoa, The Day the World Exploded, 27 August 1883'': the Penguin Group, ISBN 0-670-91126-7
 
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==External links==
 
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* [http://www.collectionscanada.ca/virtual-vault/ Virtual Vault], an online exhibition of Canadian historical art at Library and Archives Canada  Retrieved October 7, 2007.
 
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* http://images.artelino.com/images/images/japanese-painting2.jpg  Retrieved October 7, 2007.
 
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* http://commons.wikimedia.org/wiki/Image:Joseph_Mallord_William_Turner_062.jpg  Retrieved October 7, 2007.
 
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* http://commons.wikimedia.org/wiki/Image:Turner%2C_J._M._W._-_The_Fighting_T%C3%A9m%C3%A9raire_tugged_to_her_last_Berth_to_be_broken.jpg  Retrieved October 7, 2007.
 
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Latest revision as of 16:33, 24 July 2014


Autumn Landscape and the view from Steen castle, by Peter Paul Rubens, circa 1725

Landscape Painting depicts the scenery of the natural world with the views that impact the artists eye. In an effort to represent the beauty that meets the eye, the artist tries to capture that fleeting moment in time and space, for all time, thus becoming a co-creator with the original Creator.

In these visions may be, any element that may be natural or man-made. Flora and fauna, the weather, light and darkness all can play a part. There may or may not be, form and color, for even the lack of it shows the painter's perception in the quest for artistry.

From the point of view of the public there is the subtle difference of the merely pictorial and the melding of the artist's own sensibilities and creativity. In other words, one contains the spark of the Divine and is art while the other, merely representation.

Deep Valley, by Guo Xi, (fl. 1020–1090) a representative painter of landscape painting in the Northern Song dynasty, well known for depicting mountains, rivers and forests in winter. By using light ink and magnificent composition to express his open and high artistic conception this piece shows a scene of deep and serene mountain valley covered with snow and several old trees struggling to survive on precipitous cliffs.

Notes on Landscape Painting

"Landscape is a state of mind." Swiss essayist, Henri Frederic Amiel, nineteenth century.

Landscape painters are also painters of light. It is said that, the overall flood of constant heat and light in the Orient created the monochromatic styles there and the use of pure line as a graphic description. In the West, the ever shifting seasons and subtleties of changing, suffused light, created a very different style of painting, championed by artists such as the Dutch Masters, the Romantics and the sublime, W.J.M. Turner, the Impressionists and Luminists in the United States of America.

Indian Summer, Vermont, by Willard Leroy Metcalf.
Study of Gneiss Rock, Glenfinlas, Pen and ink and wash with Chinese ink on paper, by John Ruskin, 1853

In Western art, Landscape painting before the sixteenth century, with few exceptions, such as wall pictures in the Hellenistic period, have been mostly a decorative backdrop until the seventeenth century when serious artists of 'pure' landscape were active. Even then, they were thought of as very low on the scale of subject matter, second only to the flowers and fruit varieties.

Traditionally, landscape art depicts the surface of the Earth, but there are other sorts of landscapes, such as moonscapes and starscapes for example.

The word landscape is from the Dutch, landschap meaning a sheaf, a patch of cultivated ground. The word entered the English vocabulary of the connoisseur in the late seventeenth century.

In Europe, as John Ruskin realized,[1] and Sir Kenneth Clark brought to view, in a series of lectures to the Slade School of Art, London, that Landscape Painting was the "chief artistic creation of the nineteenth century," with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity"[2] In Clark's analysis, underlying European ways to convert the complexity of landscape to an idea were four fundamental approaches:

  • By the acceptance of descriptive symbols,
  • By curiosity about the facts of nature,
  • By the creation of fantasy to allay deep-rooted fears of nature,
  • By the belief in a Golden Age of harmony and order, which might be retrieved.

He said that, "we are surrounded by things which we have not made and which have a life and a structure different from our own and for centuries have inspired us with curiosity and awe." He continued to say that, "Landscape Painting marks the stages in our conception of nature. Its rise and development since the Middle Ages is part of a cycle in which the human spirit attempted once more to create a harmony with its environment." Sir Kenneth Clark also wrote that, "landscape painting was an act of faith and in the early nineteenth century as values declined, faith in nature became a form of religion." and "Almost every Englishman when asked what he thought was meant by the word 'beauty' would begin to describe a landscape."

Sir Kenneth Clark also wrote that Henri Rousseau's ideal of total immersion, could be seen in the paintings of both J.M.W. Turner and Claude Monet.

In a book on the phenomena of Krakatoa, (The Day the World Exploded: August 27, 1883 by Simon Winchester) the volcanic eruption that could be heard clear across the world, the writer states that "Art was born out of the after-effects of this volcano." After millions of tons of dust were hurled into the air in the East Indies, it disseminated around the world for many years and extraordinary sunsets were seen in unusual colors and hues exciting many landscape painters. One of those artists was, Frederic Edwin Church, a member of the Hudson River School, an American nineteenth-century painting group. Sunset Over the Ice on Chaumont Bay, Lake Ontario, a watercolor painting, is said to be the only major painting made after the immediate aftermath of the explosion and stands as vivid testimony to the great eruption. His oil, Twilight in the Wilderness, also has unusual richness of color. J.M.W. Turner the great English master-painter, was also thought to have been influenced by these unusual effects and is famous for painting evening skies colored in the aftermath of the 1815 eruption of Tambora, an earlier but not as lethal, eruption.

A lesser artist, William Ashcroft, who lived on the Thames River in Chelsea, London, painted some five hundred, plus, watercolors and made notes of the unique tints in the sunsets, for several months. These were shown in exhibition but then locked away in the Natural History Museum, in London, almost forgotten.

Landscape painting (European tradition)

The oldest recorded views in the West were cut into rock at Valcamonica, near Lake Guarda, Italy, some 2000 years B.C.E. However, these are geometric and not regarded strictly, as art. The pre-classical civilizations of Mesopotamia, Egypt and the Agean had landscape motifs that are considered art. The Hellenistic period, shows us the first known paintings of a more naturalistic nature.

In the first century C.E., Roman frescoes of landscapes, decorated rooms that have been preserved at Pompeii and Herculaneum and the first of 'pure' landscapes.

The Renaissance

In Italy, Giovanni Bellini was perhaps the first to mold all the varying styles of precision and mastery of light into one harmonious whole with man, nature and his environment seen on equal terms. The Renaissance produced both Christian and Pagan symbols along with Classical mythology, to praise man rather than any one system. A shift from divine to earthly love is shown in portrayals by both Sandro Botticelli and Titian. Artists began to look at the landscape in a much more studied and scientific way, tired of the old symbolic representations of nature. Leonardo da Vinci studied closely and drew, rocks and the way water and clouds move and botanicals among other subjects, in his Notebooks.

Christ on the Sea of Galilee, by Jacopo Tintoretto, 1560
Flight into Egypt, by Jacob Patinir, 1524
Proverbs, by Jan Breughel the Elder, copied from a painting by his father Pieter Breughel the Elder.

Spiritual reaction

Mannerism was a reaction to the Renaissance, a way to depict Spirituality over Humanism. A form of Expressionism, it had a love of visual excitement akin to the Gothic tradition, everything was for effect. Tintoretto, Saint Mary of Egypt in Meditation, 1585 (oil on canvas) and El Greco, the Greek, 1541-1614, View of Toledo (oil on canvas) were great examples. Peter Paul Rubens', 1577-1640, landscapes were full of both naturalism and romantic escapism. The Hurricane, 1624 (oil on wood) is typical and his rainbows anticipated W.J.M. Turner.

The Northern naturalism

Sixteenth century Flemish landscape began with Joachim Patinir and lasts over a hundred years and ends with the refined Jan Breughel the Elder, or Velvet or Flower Breughel, with sublime religious subjects, as in, Sodom and Gomorrah, (oil on copper). His father, Pieter Breughel the Elder, or Peasant Breughel (for his portrayals of that life) was considered the greatest of Flemish painters of the period with his combination of Italian maniera or style and Netherlands realism. Hunters in the Snow, 1565 (Oil on wood) is believed to be, December or January, from a series of the Months.

Dutch painters soon moved towards a new naturalism unhampered by literary or classical allusions. This commitment to landscape for its own sake was novel in it's time. Light, became the dominant theme and realism needed by a newly rich class. These were the honest tributes to this northern landscape of flat fields and low skies. The new Dutch syle began with Hercules Seghjers of Haarlem, 1590-1638, with a kind of imaginative realism as in Rocky Landscape (oil on canvas) and a golden light that Rembrandt admired, owning several of his work.

The new French and English Schools

In France during the reign of Louis XIV, the argument as to which was more important, color or drawing came to a head. The partisans of drawing favored Nicolas Poussin, whilst those of color, Peter Paul Rubens. This battle was won when, a product of the Rococo period, Antoine Watteau was accepted into the French Academy in 1717, with his Embarkation for Cythera. This painting has wistful lovers in a theatrical tableau and it began the career of the most famous French colorist and painter of lovers and musicians of the eighteenth century. This later led to the idylls of Jean-Honore Fragonard, 1732-1806, the last great painter of the eighteenth century, who along with Watteau, seemed to consider nature as well-tended parks and gardens and the latter contemplated the world with more than delight and painted it with freshness and freedom. The Shady Avenue, 1736-1776, (oil on wood) a fine example.

Thomas Gainsborough, a portraitist, in England, belonged to a period in which his fellow countrymen tried to make actual 'places' into living versions of classical paintings. When these formal gardens were then used as starting points of landscape paintings, history had gone full circle, as in Landscape with a Bridge, after 1774, Oil on canvas. In the nineteenth century, Romanticism, the opposite of classicism or neo-classicism began to take on a variety of meanings and introduced the idea of the sublime. This, was to bring forth the ideal of feeling, as to opposed to cold reason. This resulted in very dramatic works, later echoed in some of the Hudson Valley painters in America.

The Romantic North

In northern countries theRomantic view of nature varied enormously. Painters either were sternly realistic or tried to show off the characteristic beauties of their country. German artist,Caspar David Friedrich 1774–1840, was the exception and the greatest exponent of the Romantic landscape in northern Europe. Mountain Landscape with Rainbow, 1809 (oil on canvas) conveys a sense of mystery of the bewilderment of man confronted with the huge Creation. His conveyance of the romantic and the sublime also had great influence later in American painting as with the English painters, John Martin and J.M.W. Turner.

The Impressionists and Post-Impressionists

The Banks of the Marne, Paul Cezanne, 1888

From a small exhibition given by a few close friends working in the same way together, came the name for their genre. The freshness and immediacy of execution, shocked the public and the neglect of proper 'subjects' byClaude Monet, Camille Pissarro,Alfred Sisley and Paul Cezanne. Monet's Impression: Sunrise gave rise to the sarcastic comment, "an exhibition of impressionists."

When the Impressionists were at their best, they wove a pattern of light and shade over their canvases, eliminating hard outlines and graded shading. Their sheer use of pure color would have amazed their predecessors. Black and brown were removed for color absorbed them. Claude Monet 1840-1926, profited from working with Pierre-Auguste Renoir, (1841-1919), who'd been a painter of china. As plein air artists they'd finish canvases in their studios, with Monet's on a house boat at one point.


Russia

Over the centuries Russian culture has been formed both in opposition to social and material reality and its artists transformed the tragedy of existence into metaphysical beauty. For many the artistic image represented life itself. The messianic attitude towards creativity has always existed in Russia and especially during the early twentieth century when the artists of the Russian avant-garde like Marc Chagall and Vasily Kandinsky changed the very concept of the relationship between the visible and invisible worlds. The artist is always a missionary who must look beyond the objective world into the mysteries of existence.

Examples are;

  • Isak Leitan, Above Eternal Rest, 1894 (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Silvester Schedrin, Russian Romantic, A Small Harbour in Sorrento near Naples (oil on canvas) The State Tretyakov Gallery, Moscow.
  • Alexander Ivanov, between Classicism and Romanticism, Via Appia, 1845 (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Fedor Alexev, View of the Palace Embankment from the Peter and Paul Fortress (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Alexei Venetsianov On the Harvest: Summer (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Nikifor Krylov, Winter Landscape, 1827 (oil on canvas) State Russian Museum, Saint Petersburg,
  • Grigorii Soroka, Fishermen We, 1840s (oil on canvas) State Russian Museum, Saint Petersburg,
  • Fedor Vasiliev, Wet Meadow, 1872 (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Ivan Shishkin, Rye, 1878 (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Arkship Kuindzhi, At Night, 1905-1908 (oil on canvas) State Russian Museum, Saint Petersburg,
  • Isaak Levitan Spring, High Water (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Victor Borisov-Musatov, Gobelin, 1901, Oil on canvas, The State Tretyakov Gallery, Moscow,
  • Pavel Kuznetsov, Shearing Sheep, ca. 1912 (oil on canvas) State Russian Museum, Saint Petersburg,
  • Aristarkh Lentulov, Cubist, Moscow, 1913 (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Wasily Kandinsky, Sketch For Composition, 1909-1910 (oil on canvas) Solomon R. Guggenheim Museum, New York,
  • Kasmir Malevich, Red Cavalry, 1928-1932 (oil on canvas) State Russian Museum, Saint Petersburg.
  • Alexander Labas, The Train is Going, 1929 (oil on canvas) State Russian Museum, Saint Petersburg,
  • Alexander Deineka, Collective Farmworker on a Bicycle, 1935 (oil on canvas) State Russian Museum, Saint Petersburg,
  • Arkady Plastov, Reaping, 1945 (oil on canvas) The State Tretyakov Gallery, Moscow,
  • Eric Bulatov, Krasikov Street, 1977 (oil on canvas) Jane Vorhees Zimmerli Museum, Rutgers, State University of New Jersey, New Brunswick, the Norton and Nancy Dodge collection of Nonconformist Art from the Soviet Union.

Gallery Russian landscape art

  • Kuskovo Palace and Estate of the Counts Sheremetev in Moscow, Watercolor, 1839

  • Ostankino palace and manor in Moscow, Watercolor by Vasily E. Raev, 1858

  • Sukharev Tower, by Alexei Kondratyevich Savrasov, 1872

  • Moscow I, by Wassily Kandinsky, 1916

  • Clouds and Golden Domes at the Simonov Monastery, Apollinary Vasnetsov, 1927

  • Krishna, from the "Kulu" series by Nicholas Roerich, 1929

  • St. Panteleimon the Healer, by Nicholas Roerich, 1931

  • The First Tractor, by Vladimir Krikhatsky

Freedom in the twentieth century

Freed from many old constraints, artists began to experiment more and more, with happy results; Henri Matisse, 1869-1954, a brilliant colorist with The Blue Room, The Bluff 1907 (oil on canvas) and a leading spirit of the the Fauves or "wild beasts," with vivid and highly decorative motifs. Raoul Dufy a designer, painted with sketchy frivolity and decorative color, Maurice Utrillo his beloved Paris-scapes, and Maurice de Vlaminck (1876-1958) painted by laying on thick layers of oil with a knife and other flat instruments. Wasily Kandinsky, 1866–1944, a Russian painter, printmaker and art theorist, is credited with making the the first abstract paintings in the West.

  • Luxury, Calm, and Pleasure, by Henri Matisse, 1904

  • Open Window, Collioure, by Henri Matisse, 1905

  • The River Seine at Chatou, Maurice de Vlaminck, 1906

  • The Circus, by Maurice de Vlaminck, 1910

Landscape painting (American tradition)

In The Beginning, All the World was America - John Locke

In the woods, is perpetual Youth. The currents of the Universal Being circulate through me; I am part or particle of God. - Ralph Waldo Emerson. Nature

Young America

Florimells Flucht, by Washington Allston, 1819
View in the White Mountains, by Thomas Cole, 1827
Tower Creek, by Thomas Moran, 1871

In America the young nation began with its influences chiefly from England and the European tradition. gradually, over time as if molded by the landscape itself, uniquely American genres and styles were born with more than an occasional nod back over the ocean.

The thoroughly American branch of painting, based upon the facts and tastes of the country and people is … landscape James Jackson Jarves in his book The Art-idea, 1864.

The Hudson River School painters

Many of the landscapes produced in the eighteenth century were strictly topographical; views of towns or beauty spots and were often made by military men. In the early decades of the nineteenth, landscape began to be created as pure and ideal. Thomas Doughty, 1793-1852, from Philadelphia began with picturesque composition, while History painter Washington Allston, Diana On a Chase 1805, trained in London, with his allegorical scenes rooted in the Italian tradition and naturalized by the English, gave stimuli to Thomas Cole's ambitious program to create a uniquely American landscape art.

Coming of Age

Frederic Edwin Church painted prolifically in the Hudson River valley and also traveled and painted in South America. His landscape painting were rivaled was Albert Bierstadt, with his sensational paintings of the American West. Born In Germany in 1830 and with his family, moved to America at age two and later returned to Dusseldorf to study painting. On return in 1859, he went on an expedition the explore the Rocky Mountains. The great picture that he made on his return was The Rocky Mountain, Lander's Peak, 1863 (oil on linen). His style was cool, objective and very detailed and had already been proved by a Swiss painting of Lake Lucerne. His technique was to make pencil sketches and small oil studies. His brothers ran a photographic studio and he also used a camera. His work was known as new Ideal landscape as in Among the Sierra Mountains, California shown in London in 1868, 'not fiction but portraiture', was the reaction. Sunset in the Yosemite Valley, 1868 (oil on canvas) was described by the artist as the Garden Eden, 'the most magnificent place I was in,' recalling Cole's Expulsion from the Garden of Eden, 1827-1828 (oil on canvas). As a result of paintings from this area, in 1864, during the American Civil War, landscape architect, Frederick Law Olmsted (creator of Central Park, in New York City drafted a bill for the preservation of Yosemite Valley, for the nation, which President Abraham Lincoln signed into law.

A new century, new ideas

Winslow Homer another great painter began as an illustrator in Boston and served as an artist during the Civil War, he was famous for wood engravings and soon his oils and watercolors became as popular. He travelled extensively and saw Japanese prints in France and took the best ideas of the west and the east and made them his own. He described the physical phenomena of the sea with spontaneity in both watercolor and oil. His West Point, Prout's Neck, 1900 (oil on canvas) combined these elements of style, a new vision for a new century.

Marsden Hartley was one of the first great modern painters, although an itinerant, constantly struggling with his personal life and finances and unable to settle, he alternated between Nova Scotia, Maine, New England and New York. His paintings of The Last Stone Walls, Dogtown (Gloucester, Mass.) 1936-1937 (oil on canvas) reminiscent of Pynkham Ryder, point the way to future modernism.

Regionalism, the Mid-West and South-West

Grant Wood's Fall Plowing 1931 (oil on canvas) at a time of great financial depression shows an ideal mid-western agrarianism. Grant Wood, Thomas Hart Benton and John Steuart Curry are considered the trinity of Regionalism, an anti-dote toModern Art. Wood had studied Flemish art and was highly stylized but Alexandre Hogue made stronger comments on the abuse and exploitation of the land with his The Crucified Land 1939 (oil on canvas) and paintings of the Dust Bowl. Georgia O'Keefe, who had made her mark in New York City with her city-scapes and close-up flower paintings moved to New Mexico permanently after her husband, photographer Alfred Stieglitz's death in 1946. Moving between abstraction and realism she portrayed the Southwest and the desert with sensuality and ambiguity as in Black Place 11 (oil on canvas).

Towards realism and a new realism

Andrew Wyeth for all the argument about his work is indeed a painter of significance and realism. At first his work was thought of as photographic but with the advent of Photo Realism (in the 1970s) it was realized just how interpretive he was. Ring Road 1985 (tempera) shows an almost oriental feeling and abstraction. In the mid-1950s and 1960s came a shift from abstract to figurative painting on both the East and West coasts. In California, the influences included Henri Matisse; Richard Diebenkorn, View From a Porch (oil on canvas) 1959, Wayne Thiebaud, Coloma Ridge, 1967-1968 (acrylic and pastel on canvas) David Park, Elmer Bischoff, Landscape Afternoon 1959 (oil on canvas) Paul Wonner, James Weeks and Theophilus Brown. In the East, the Abstract Expressionists had held sway but that began to change, too.

The inner landscape

Other artists who work with an abstract or surrealistic style to explore the inner landscapes of ourselves and our imagination, include; Jan Parker in Hawaii and Benny Andersson in New Jersey.

Benny Andersson paints "visual prayers, intended to promote deep reflection and healing within the viewer and to have a spiritual and uplifting effect on the soul, to keep dreams alive." He likens artists as "messengers of truth and beauty." His landscapes, full of unique imagery, cosmic and earthly visions, recall Hieronymus Bosch and are endowed with transparent colors as clear as glass. Unlike Bosch, Andersson shows the viewer worlds free from danger, impurity and abuse and allows nature to be seen as through the eyes of the newborn child.

  • Tree, by Benny Andersson

  • Sea, by Benny Andersson

  • Crossing, by Benny Andersson

Canada landscape painting

As explorers, naturalists, mariners, merchants and settlers arrived on the shores of Atlantic Canada in the early centuries of its exploration, they were confronted by what they saw as a hostile and dangerous environment and an unforgiving sea. These Europeans tried to cope with the daunting new land by mapping, recording and claiming it as their own. Their understanding of the specific nature of this land and its inhabitants varied greatly, with observations ranging from highly accurate and scientific to outlandish or fantastic. These observations are documented in the landscape works they produced. In more recent times some of the best examples of Canadian landscape art can be found in the works of the Group of Seven.[3]and the British Columbia forest-scapes of Emily Carr. The indigenous peoples of Canada, the Inuit and First Nations' peoples, created their art work as part of their daily lives and did not have languages for art. In examples of hunting and fishing, the waters and other natural elements are a backdrop to the action.

"Artistic expression is a spirit, not a method, a pursuit, not a settled goal, an instinct, not a body of rules." - Foreword, Group of 7 Exhibition of Paintings, exhibition catalog, Art Gallery of Toronto, 1922.

Among the thousands of artists that have worked in these extensive and vast lands, here are a few, some who have been influenced by European and American traditions and a few who have created their own. George Back, 1796-1878, Broaching to, - Canoe crossing the Melville Sound, 1821 (watercolor) from sketchbook. Made during a heroic voyage on an overland Arctic expedition to the Coppermine River.

James Pattison Cockburn, 1779-1847, General Hospital, Quebec, 1830 (watercolor and gum arabic over graphite on woven paper). A Major General and Commander of the Royal Artillery in British North America, he was able to use his sketchbooks on his tours of Upper and Lower Canada. At his home garrison at Quebec City, he was to paint many points of view.

William Brymner, 1855-1925, A Wreath of Flowers, 1884 (oil on canvas). An influential teacher at the Art Institute of Montreal, this was painted in England with some knowlege of Impressionism.

Franklin Carmichael, 1890-1945, Bay of Islands 1930 (watercolor on paper). The youngest member of the Group of Seven artists, giving a panoramic view north of Lake Superior.

Emily Carr, 1871-1945, Red Cedar, 1931-1933 (oil on canvas) and Sky, 1935 (oil on wove paper). Speaking of her love for the beauty of Canadas' woods, she asked, "Am I one-idea'd, small, narrow? God is in them all." Her depictions of a cloud-filled heaven radiates with life and energy which she noted reflected her spiritual beliefs. She is also remembered for her depictions of First Nations' villages.

Jack Chambers, 1931-1978, Towards London No. 1 1968-1969 (Oil on mahogany). Working from a photograph, he states that he wants to capture "this eternal present." The year that he finished this painting he published an essay, "Perceptual Realism."

Alfred Joseph Casson, 1898-1992, Hillside Village. 1927 (Watercolor on paper). As a member of the Group of Seven he painted the Ontario hillside town to be different from the others and because he loved these old but disappearing places. He helped form the Canadian Society of Painters in Water Color.

Gallery Canadian landscape art

  • Mount St. Helens Erupting at Night, by Paul Kane, 1847

  • Fort Edmundton, by Paul Kane, 1856

  • The Toll Gate, by Cornelius Krieghoff, 1859

  • Midsummer, by Helen McNicoll, 1909

  • The Ice Harvest, by Maurice Cullen, 1913

  • Sunrise, Lac Tremblant, by Maurice Cullen, 1922

Australia landscape painting

Back to Australian Tales is from the collection of Warrnambool Art Gallery, Hamilton Art Gallery, Ballarat Fine Art Gallery, Geelong Gallery, Benalla Art Gallery, Lismore Regional Art Gallery, Heide Museum of Modern Art, Queensland University of Technology Art Museum, Devonport Gallery and Arts Centre, Logan Art Gallery and University of South Australia Art Museum.

This small selection of Australian landscape painting, beginning with the period of European settlement, highlights different ways of depicting land and organizing pictorial space. Of course for a long time before the arrival of Europeans, Aboriginal people were interpreting aspects of their land through song, art, dance and ceremony.

It is interesting to note changes in regard to creating the illusion of depth in landscape painting. In the past a horizon line was used to create a sense of vast space. The resulting effect was that it positioned the viewer at a distance from the landscape. Later, as indigenous and contemporary art influenced artists and as we have come to know the landscape better, the use of a horizon has diminished or totally disappeared.

Mount Townsend, by Eugene von Guérard, 1863

Eugene von Guerard and Thomas Clark both arrived in Australia in the early 1850s yet they depict land in quite different ways. Von Guerard (1811-1901) painted Tower Hill as an idyllic landscape where the Aboriginal group, shown in the foreground, appear to live in a latter-day paradise. Between the contrast of the detailed foreground and the distant horizon one senses the artist's desire to explore this unknown land.

Muntham by Thomas Clark (1814-1883), painted approximately five years later than Tower Hill, shows measured paddocks, denuded hills, grazing animals and farm-workers leaving no sense of the un-known. The focus of the painting is the homestead nestled in the valleys. Unlike von Guerard, Clark is not interested in exploration or botanical correctness but rather in belonging and ownership.

In von Guerard's later painting of 1884, Old Ballarat as it was in the summer of 1853-54, the genesis of a city is captured. By showing cleared land and a horizon of disappearing wilderness, von Guerard may also be questioning the price of progress.

The Letter 1884, by Frederick McCubbin.

Fredrick McCubbin (1855-1917) painted A Bush Burial in 1890 when the colony was experiencing the worst drought and depression in its history and this possibly influenced the choice of subject. McCubbin creates an engulfing, claustrophobic landscape by barely suggesting any horizon and compressing midground and background. In contrast, the bush folk are portrayed as heroic figures.

There is no sense of the heroic in Clarice Beckett's work. Instead, Beckett (1887-1935) pays homage to the everyday scenes and small events that we all experience. Misty suburban landscapes are painted with a transient beauty that suggests the impermanence of existence. Beckett often painted en plein air—completing her work outside rather than in the studio. Between the heroics of McCubbin and the cherished everyday events seen in Beckett's work, we could speculate on how World War 1 may have had an effect on the choice of subject matter deemed worthy enough to paint.

Albert Namatjira (1902-1959) grew up on the Hermannsburg Lutheran Mission near Alice Springs and knew the Central Australian desert intimately. A characteristic common to most of Namatjira's landscapes is the sense of energy within the land. Though his paintings conform to European traditions of landscape painting in that they contain foreground, midground, background and distant horizon, the forms pulsate through the patterning of shadows across the painting, making the land itself appear to breathe.

Sidney Nolan (1917-1992), like McCubbin, was interested in depicting narratives in the landscape. In Kelly at the Mines the horizon appears disjointed and forms are not anchored in space. Instead they seem to float and the landscape becomes the locale for surreal dramas: a dreamed place. The Ned Kelly series was painted during World War II when Nolan was himself hiding out from army authorities after deserting.

In Yellow Landscape, Fred Williams (1927-1982) also disturbs the organization of pictorial space by evaporating the horizon line in what appears to be searing heat, allowing the tree forms to float in heat and space. Through thoughtful distillation of forms accompanied by gestural brush strokes, Williams transforms half-cleared, unremarkable scrub into a kind of calligraphic meditation on observation.

Eagle Landscape by William Robinson (b. 1936) depicts a horizon line totally abandoned and the viewer is made to feel that they are surrounded by the landscape as one simultaneously sees above, below, through and over. As the title suggests, this painting may well be an imagined bird's view as it swoops over hilltops. Robinson often depicts the land close to his home and this gives his paintings a sense of familiarity and sensitivity to the connections between land and living things.

Leaving a Mountain by Bea Maddock (b. 1934) has very little sense of depth as one mountain dominates the horizon. Instead we are made aware of how the landscape was observed: slowly, bit by bit. The artist might be suggesting that intimate knowledge of the land can only be gained through slow observation. Her work often has a feeling of being wrought from earth as she uses ochers from her native Tasmania mixed with en-caustic (pigment mixed with molten wax).

Kathleen Petyarre (b. circa 1940) was born on Utopia Station, north-east of Alice Springs. Common themes in Petyarre's paintings are the Dreaming stories she inherited from her mother and father. There is a feeling of immense space in Petyarre's paintings though there is no hint of a horizon line and the subject matter may be as minute as the trail a lizard leaves across sand. The viewer is made to feel that they are surrounded by and submerged in the landscape.

Gallery Australian landscape art

  • Painting of Augusta, by Thomas Turner, 1830s

  • Patterdale Landscape, by John Glover, 1835

  • Macedon Ranges, by Louis Buvelot, 1874

  • The Storm, by Walter Withers, 1896

  • The Pioneer, by Frederick McCubbin, 1904

  • Anzac, the landing, by John Lambert, 1920

  • Camel Corps at Magdhaba, by H. Septimus Power, 1925

Landscape painting (Latin tradition)

Painted in Latin America

Love of travel and adventure has historically been an important characteristic of American cultural identity. In the nineteenth century, these interests were manifested in a vogue for travel literature and artist renderings, especially paintings of exotic places, an interest that reached an unprecedented peak in the mid-century. Some artists traveled to the far North of the American continent, creating images of icebergs and frozen seas; others made their way to the far West, capturing nature's wonders there, while still others headed South to the Hispanic-speaking countries of Latin America. For many of these artists, the experience was the turning point in their careers.

Gallery Latin American landscape art

  • Heart of the Andes, by Frederic Edwin Church, 1859

  • Bull Boats and Lodges, by George Catlin

  • Bright House Rehoboth Beach, by Titian Ramsay Peale

  • Orchids, Passion Flowers and Hummingbird, by Martin Heade, 1880

Twentieth century Latin America art

There are a few landscape painters in each nation of Latin America.

Campfire in the Woods, by José Bernal, 1950
Dia de Sol, by Benito Quinquela Martín, 1958
Mexico

Carlos Orozco Romero, Sueno (Dream), 1940 (oil on canvas) private collection, Mexico City.

Manuel Gonzalez Serrano, Aprendices de Toreo (Bullfighters' apprentices) 1948 (oil on wood) private collection.

Central America, Honduras

Jose Antonio Valasquez, Paisaje (Landscape), 1976 (oil on canvas) private collection.

Nicaragua

Arnoldo Guillen, Coloso VIII (Colossus VIII), 1993 (acrylic on canvas) Managua.

Costa Rica

Asilia Guillen, Autorretrato de la Artista Pintado (Self-Portrait of the Artist Painting), 1954 (oil on canvas) private collection.

Teodorico Quiros, Caserio (Village), 1946 (oil on canvas) private collection.

Panama

Roberto Lewis, Tamarindos (Tamarind Trees), 1948 (oil on canvas) private collection.

Cuba

Leopoldo Romanach, Cruzando El Rio (Fording the River), 1900 (oil on canvas) private collection.

Tomas Sanchez, Buscador de Bosques (Seeker of Forests), 1991 (acrylic on canvas) private collection.

Dominican Republic

Yoryi Morel, A La Fiesta (At the Fiesta), 1948 (oil on canvas) Museo Juan Jose Bellapart, Santa Domingo.

Puerto Rico

Virginia Patrone La Hora de las Puertas Cerradas, 2005 (acrylic on canvas) private collection.

Landscape painting (Eastern tradition)

While Europe and the United States of America, hold a central place in the public eye and in the general History of Art, other civilizations have some elements of landscape painting in varying degrees. In Asia, India and Persia and Turkey, these are mostly found in jewel-like miniature paintings, in which depictions of flora and lanscape appear. In India, Buddha is often in the relief carvings of stupas or shrines, depicted sitting beneath a tree, under which his mother Maya gave birth to him. In Indian Mogul art are Lovers in a Landscape c.1760-1770, Miniature, New Delhi, National Museum.

India landscape art and philosophy

Indian paintings historically revolved around the religious deities and kings. Indian art is a collective term for several different schools of art that existed in the Indian subcontinent. The paintings varied from large frescoes of Ellora to the intricate Mughal miniature paintings to the metal embellished works from the Tanjore school. The paintings from the Gandhar-Taxila are influenced by Persian works in the west. The eastern style of painting was mostly developed around the Nalanda school of art. The works are mostly inspired by various scenes from Indian mythology. None of these pictures portrayed landscape as such but occasionally small elements would be act as a backdrop.

The Bengal School of Art was an influential style of art that flourished in India during the British Raj in the early twentieth century. It was associated with Indian nationalism, but was also promoted and supported by many British arts administrators.

The artist Abanindranath Tagore, a nephew of the poet Rabindranath Tagore. Tagore painted a number of works influenced by Mughal art, a style that he believed to be expressive of India's distinct spiritual qualities, as opposed to the "materialism" of the West. Tagore later attempted to develop links with Japanese artists as part of an aspiration to construct a pan-Asianist model of art.

In the post-independence period, Indian artists showed more adaptability as they borrowed freely from European styles and amalgamated them freely with the Indian motifs to new forms of art. While artists like Francis Newton Souza and Tyeb Mehta were more western in their approach, there were others like Ganesh Pyne and Maqbool Fida Hussain who developed thoroughly indigenous styles of work. Today after the process of liberalization of the market in India, the artists are experiencing more exposure to the international art-scene which is helping them in emerging with newer forms of art which were hitherto not seen in India.

Gallery India landscape art

  • Mihrdukht Shoots an Arrow Through a Ring, by Meister der Hamza-Nâma-Handschrift, 1564-1579.

  • Krishna and the Pândavas water their horses. Scene from a Razmnama, 1616

  • Bahsoli painting of Radha and Krishna in Discussion, Gita Govinda-manuscript, Gouache on paper, 1730

  • Akbar and Tansen visit Haridas in Vrindavan, by Jaipur-Kishangarh, 1750

  • Krishna embraces Gopîs, Gîtâ-Govinda-manuscript, 1765

  • Rama and Sita in the Forest, by Maler von Indischer, 1780

Islam landscape art and philosophy

Sa'di in a Rose Garden, Mughal Dynasty, from the reign of Shah Jahan, early sixteenth century, repainted 1645

The depiction of humans, animals or any another figurative subjects is forbidden within Islam to prevent believers from idolatry so there is no religiously motivated painting (or sculpture) tradition within Muslim culture. Pictorial activity was reduced to Arabesque, mainly abstract, with geometrical configuration or floral and plant-like patterns. Notable illustrator M.C. Escher was influenced by this geometrical and pattern based art. Art Nouveau (Aubrey Beardsley and the architect Antonio Gaudi) re-introduced abstract floral patterns into western art. Note that despite the taboo of figurative visualization, some muslim countries did cultivate a rich tradition in painting, though not in its own right, but as a companion to the written word. Iranian or Persian art, widely known as Persian miniature, concentrates on the illustration of epic or romantic works of literature. Persian illustrators deliberately avoided the use of shading and perspective, though familiar with it in their pre-islamic history, in order to abide by the rule of not creating any life-like illusion of the real world. Their aim was not to depict the world as it is, but to create images of an ideal world of timeless beauty and perfect order.

Iran

In present days, painting by art students or professional artists in Arab and non-Arab Muslim countries follow the same tendencies of Western culture art.

Paintings of the Qajar period, are a combination of European influences and Safavid miniature schools of painting such as those introduced by Reza Abbasi. Masters such as Kamal-ol-molk, further pushed forward the European influence in Iran. It was during the Qajar era when "Coffee House painting" emerged. Subjects of this style were often religious in nature depicting scenes from Shi'a epics and the like.

Gallery Islamic landscape art

  • The history of Bayâd and Riyâd ("Hadîth Bayâd wa Riyâd"), Maghrebini manuscript, scene: Bayâd sings to sounds before the lady and its maids, by Maler der Geschichte von Bayâd und Riyâd, thirteenth century

  • Maqâmât (meetings) of the al-Harîrî, scene: Conversation with Dorfe, by Yahyâ ibn Mahmûdal-Wâsitî, 1237

  • Iskandar (Alexander the Great) at the Talking Tree, from a manuscript of the Shahnama (Book of Kings), by Firdawsi, 1330-1340

  • Persian miniature painting, 1550 C.E.

  • Adam and Eve from a copy of the Falnama (Book of Omens, by Ja´far al-Sadiq, 1550

  • Arrival of Mahomet at Mecca, from the Qesas Al-anbiya (Stories of prophets), Ishâq al-Nishâpûrî, 1581

  • Seated Princess, by Muhammad-Sharif Musawwir, circa 1600

  • Muhammad preaching, by Grigory Gagarin, 1840–1850

Chinese landscape art and philosophy

Emperor Minghuang's Journey to Sichuan; this section of a much larger Ming Dynasty (1368-1644). Chinese handscroll painting on silk shows Tang Minghuang, or Emperor Xuanzong of Tang, fleeing the capital Chang'an and the violence of the An Shi Rebellion that began in the year 755 during the mid Tang Dynasty. This handscroll painting is a late Ming copy after an original painting by the renowned Ming artist Qiu Ying (1494-1552).

The Chinese tradition of "pure" landscape, in which the minute human figure simply gives scale and invites the viewer to participate in the experience, was well established by the time the oldest surviving ink paintings were executed.

Chinese painters over a period of fifteen centuries have developed certain methods that are meant for the beginner to learn and practice before any creative departures. The evolution of Chinese painting over many centuries has been continuous whilst making some adjustments for certain other influences. It has established strong traditions and a self generating force.

The simple use of brush and ink on absorbent paper in monochromatic forms and voids coupled with an exclusive choice of subjects from nature form the basis for this language of art. For thousands of years the Chinese people have been farmers struggling with the changes in nature until they began to seek a way of harmony with those forces which became eventually the philosophy of Dao or the Way, a fundamental notion that nature and humanity are one.

So, artists aspired also to become one with nature, superseding other forms such as figure painting. As a result Chinese painting came to have universal appeal. The artist intends the landscape not just for viewing but for a more spiritual journey.

Gallery Chinese landscape art

  • Tao Yuanming Returning to Seclusion, a Chinese handscroll painting on silk, from the late Northern Song Dynasty, early 12th century.

  • Autumn Colors Part 1, by Zhao Meng Fu

  • Autumn colors Part 2, by Zhao Meng Fu

  • Autumn colors Part 3, by Zhao Meng Fu, 1295

  • A Far view of stream and mountains, by Xia Gui, (1195–1224)

  • Spring Landscape Rimpa School, 18th century six-panel screen ink, gofun and gold leaf on paper.

  • Peach Festival of the Queen Mother of the West, Ming Dynasty early 17th century, by an anonymous artist.

  • Peonies, by Yun Shouping, late 17th century, Qing dynasty

Japanese painting traditions

As nearly all forms of art, Japanese early painting had been under the influence of the Chinese culture. By and by, new and specifically Japanese styles were developed and painting schools were established. Each school practiced their own style. But the Chinese influence remained strong until the beginning of the Edo period (1603-1867). There is a general term to describe painting in Japanese style - yamato-e.

Painting Schools and Styles
  • Suibokuga or Sumi-e, is the term for painting in black ink. It was adopted from China and strongly influenced by Zen Buddhism. During the fifteenth century ink painting gained a more Japanese style of its own.
  • Kano Masanobu (1453-1490) and his son Kano Motonobu (1476-1559) established the Kano painting school. It began as a protest against the Chinese ink painting technique in black. The Kano school used bright colors and introduced daring compositions with large flat areas that later should dominate the ukiyo-e designs. The Kano school split into several branches over the time, but remained dominant during the Edo period. Many ukiyo-e artists were trained as Kano painters.
  • The nanga painting style was strong at the beginning of the nineteenth century during the bunka and bunsai era. The advocates of this style painted idealized landscapes and natural subjects like birds and flowers for a cultural elite. The style was rather Chinese.

Japanese painters used a wide variety of media over the centuries. The only one not used until the late nineteenth century, is the Western style framed canvas.

Japanese paintings may evoke an association with landscapes and natural scenes drawn with a few simple brush strokes.

Gallery Japanese landscape art

  • Winter Landscape, Hotei, and Summer Landscape, by Kano Gyokuraku, circa 1575. Hanging scrolls. Ink and pigments on paper.

  • 春景図 (Spring Landscape), Hanging scroll: Ink and tint on silk, by 狩野探幽 Kano Tan'yu, 1672

  • Shukei-sansui (Autumn Landscape), by Sesshu Toyo

  • Modern recut copy of Behind the Great Wave at Kanagawa, original by Katsushika Hokusai, 1829

Korean landscape painting

The study and appreciation of Korean art is still at a formative stage in the West. Because of Korea’s geographical position between China and Japan, Korea was seen as a mere conduit of Chinese culture into Japan. However, scholars have begun recently to acknowledge Korea’s own unique art culture and important role in not only transmitting Chinese culture but creating distinctive styles as well.

While studies on Korean aesthetics are rare, a useful place to begin understanding of how Korean art developed as an aesthetic is in Korean philosophy, and related articles on Korean Buddhism, and Korean Confucianism. To the Korean painter brush-strokes are far more important than they are to the western artist; and paintings are judged on individual brush-strokes more often than pure technique.

Generally the history of Korean painting is dated to approximately 108 C.E., when it first appears as an independent form. Until the Joseon Dynasty the primary influence was Chinese painting although done with Korean landscapes. Most of the early notable painters in Japan were either born in Korea or trained by Korean artists during the Baekje era as Japan assimilated Korean culture without restraint at that time.

Privately owned Korean-style painting drawn by a modern Korean artist.

Throughout the history of Korean painting, there has been a constant separation of monochromatic works of black brushwork on very often mulberry paper or silk; and the colorful folk art or min-hwa, ritual arts, tomb paintings, andfestival arts which had extensive use of color. This distinction was often class-based. Scholars, particularly in Confucian art felt that one could see color in monochromatic paintings within the gradations of ink and felt that the actual use of color coarsened the paintings, and restricted the imagination.

Korean painters in the post-1945 period have assimilated some of the approaches of their western counterparts. Certain European artists using a thick impasto technique and foregrounded brush-strokes captured the Korean interest. Such artists as Paul Gauguin, Adolphe Monticelli, Vincent Van Gogh, Paul Cezanne, Camille Pissarro, and Georges Braque have been highly influential as they have been the most taught in art schools, with books both readily available and translated into Korean early.

The expected genres of Buddhist art showing the Buddha, or Buddhist monks, and Confucian art of scholars in repose, or studying in quiet often mountainous surroundings follows general Asian art trends.

Hunting scenes, familiar throughout the entire world, are often seen in Korean courtly art, and are reminiscent of Mongolian and Persian hunting scenes.

Baejke painters

Yi painted alongside and influenced the originals of Japanese zen art; and was known in Japan by his Japanese name Ri Shubun or the Korean Bhubun. Descent of Japanese zen painting thus can be traced to: Yi su-mun (Ri Shubun), alongside Josetsu and Sesshu who was taught by Yi su-mun.

Joseon Dynasty painting

Mid-dynasty painting styles moved towards increased realism. A national painting style of landscapes called "true view" began - moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered. While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting.

The list of major painters is long, but most notable names include Jeong Seon (1676-1759), a literati painter influenced by theWu school of the Ming dynasty in China; much taken by the Diamond mountain landscape. Shin Yun-bok (b. 1758), a court painter who did paintings often of the scholarly or yangban classes in motion through stylized natural settings; he is famous for his strong reds and blues, and grayish mountain-scapes.

North Korean painters who escaped to the United States in the 1950s include the Fwhang sisters. Duk Soon Fwhang and Chung Soon Fwhang O'Dwyer avoid overtly political statements in favor of tempestuous landscapes, bridging Western and Far Eastern painting techniques.

Gallery Korean landscape art

  • Geumgangsan, ink and oriental watercolor on paper, by Jeong Seon, 1734

  • "Maehwaseookdo, by Jo Hee-ryong

  • Hwangmyonongjeopdo, by Kim Hong-do, late 18th century

  • Juyucheonggangdo, by Shin Yun-bok, 1805

The Importance and impact of Landscape painting

In the need to represent nature comes the need to show it. We all wish to share that which we love and landscapes are no exception. When gazing on a Chinese panorama in some long dim past dynasty, surely we share and relive the emotions felt by that artist. This way is the way not only of feeling but of intelligence for we now begin to learn of our history far and wide. The artist becomes a recorder of feelings and fact, delving into the mysteries of how things are and come to be.

Landscape painting not only gives us a view into this material universe with an image frozen in time and space but takes us back to that very moment of its conception. Not only history but philosophy and even religion may be embedded with the artist's individual stamp, thoughts and ideas. Science too is present, in an examination of a scene, it's light, form and color, skillfully rendered by the painter, akin to the botanical illustrator. Most of all we feel the emotion of one standing in awe, striving to bring that moment to life, reborn in another form, the painting, a work of art.

For many, the tranquil depictions of nature give respite and relaxation, calming of the soul and spirit in one's own home. Yet, more than a sense of wonder is felt in the public and private galleries of art. Moreover, we now experience in this modern life, more and more, not only the visions of this physical creation but also the abstract, exploration and landscapes of our inner worlds, as noted by current abstract artist, Jan Parker.

The great romantic, Lafcadio Hearn wrote from Japan, a century ago:

…As the scene, too swiftly receding diminishes, … I vainly wish I could buy this last vision of it … and delight my soul betime with gazing thereon.

Related -scapes

  • Vedute is the Italian term for view, and generally used for the painted landscape, often cityscapes which were a common eighteenth century painting thematic.
  • Skyscapes or Cloudscapes are depictions of clouds, weatherforms, and atmospheric conditions.
  • Moonscapes show the landscape of a moon.
  • Seascapes depict oceans or beaches.
  • Riverscapes depict rivers or creeks.
  • Cityscapes or townscapes depict cities (urban landscapes).
  • Hardscapes are paved over areas like streets and sidewalks, large business complexes and housing developments, and industrial areas.
  • Aerial landscapes depict a surface or ground from above, especially as seen from an airplane or spacecraft. (When the viewpoint is directly overhead, looking down, there is of course no depiction of a horizon or sky.) This genre can be combined with others, as in the aerial cloudscapes of Georgia O'Keeffe, the aerial moonscapes of Nancy Graves, or the aerial cityscapes of Yvonne Jacquette.
  • Inscapes are landscape-like (usually surrealist or abstract) artworks which seek to convey the psychoanalytic view of the mind as a three-dimensional space. For sources on this statement, see the Inscape (visual art) article.

Notes

  1. ↑ John Ruskin. Modern Painters, Vol. 3 Of Many Things. "Of the novelty of landscape." (Adamant Publishing, 2000. ISBN 142122903X)
  2. ↑ Sir Kenneth Clark. Landscape into Art. preface. (New York: Harper and Row, 1949.)
  3. ↑ "Landscapes" in Virtual Vault, an online exhibition of Canadian historical art at Library and Archives Canada

References
ISBN links support NWE through referral fees

  • Arthur, John. Spirit of Place, Contemporary Landscape Painting & The American tradition. Bullfinch Press, 1989. ISBN 0821217070
  • Bazarov, Konstantin. Landscape painting. London: Octopus Books; NY: Mayflower Books, 1981. OCLC 8686498
  • Brigante, Guiliano. The View Painters of Europe. Phaidon Press Ltd., 1979. ISBN 0714814075
  • Carli, Enzo. The Landscape In Art, from 3,000 B.C.E. to Today. Milano: Arnoldo Mondadori Editore S.p.A., English translation copyright Arnoldo Mondadori Editore S.p.A., Milano, 1979. ISBN 0688036783
  • Clark, Sir Kenneth. Landscape into Art. Slade Lectures, Harper and Row, 1949. ISBN 0060107812
  • Jeffares, Bo. Landscape Painting. NY: Mayflower Books Inc., 1979. ISBN 0831754133
  • Kiers, Judikje, and Tissink Fieke. The Golden Age of Dutch Art. Thames and Hudson Ltd., 2000. ISBN 0500237743
  • Leonard, Elizabeth. Painting the Landscape. Watson-Guptill Publications, 1984. ISBN 0823036553
  • McShine, Kynaston, Ed. The Natural Paradise, Painting in America 1800-1950. NY: The Museum of Modern Art, 1976. ISBN 0870705059.
  • Newlands, Anne. Canadian Art, From its beginings. Firefly Books Ltd., 2000. ISBN 1552094502
  • Novak, Barbara. Nature and culture: American landscape and painting, 1825-1875. Oxford University Press, 1980. ISBN 0195026063
  • Ruskin, John. Modern Painters, Vol. 3 Of Many Things. "Of the novelty of landscape." Adamant Publishing, 2000. ISBN 142122903X
  • Shanes, Eric. Turner The Masterwoks. Portland House, 1990. ISBN 0517015099
  • Sullivan, Edward J., Ed. Latin American Art, in the Twentieth Century., Phaidon Press Ltd., 1996. ISBN 0714832103
  • Wilton, Andrew, T. J. Barringer, Tate Britain (Gallery); Pennsylvania Academy of the Fine Arts. Minneapolis Institute of Arts. American sublime: landscape painting in the United States, 1820-1880 (Princeton, NJ: Princeton University Press, 2002. ISBN 0691096708
  • Wilton, Andrew, and Tim Barringer. American Sublime, Landscape Painting in the United States, 1820-1880. Princeton University Press, 2002. ISBN 0691096708
  • Winchester, Simon. Krakatoa, The Day the World Exploded, 27 August 1883. The Penguin Group, 2003. ISBN 0670911267
  • Wong, Wucius. The Tao of Chinese Painting, Principles & Methods. Hong Kong: Everbest Printing Co. Ltd.; NY: Design Press, 1991. ISBN 0830690107

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