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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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: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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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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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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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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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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Painting Schools and Styles
 
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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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* 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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* 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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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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Japanese paintings may evoke an association with landscapes and natural scenes drawn with a few simple brush strokes.
 
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== European Painting ==
 
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'''Nature as Divine Power'''
 
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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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''Anticipating future artists''
 
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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.
 
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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.
 
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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 Turner.
 
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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.
 
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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,''
 
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1565, Oil on wood is believed to be,  ''December''  or  ''January,''  from a series of the ''Months.''
 
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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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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.
 
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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 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.
 
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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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'''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                                     
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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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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 painter, John Martin.
 
  
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'''The Impressionists and Post-Impressionists'''
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==[[Landscape painting (European tradition)]]==
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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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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 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===
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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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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.
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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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'''The Japanese influence'''
+
===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 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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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.
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[[Dutch]] painters soon moved towards a new naturalism unhampered by literary or classical allusions.
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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.
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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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'''Impressionism's influence'''
+
===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.
  
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Other nations were influenced by this style including America, especially Childe Hassam.
+
[[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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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.  
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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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Another American staying in England, John Singer Sargeant, 1856-1925, known primarily as a portraitist, was also an excellent realist, landscape painter and embraced some of Impressionism's ideal of capturing the quality of light, which he did with his unique method of small flickering streaks of brilliant color, as in ''Home Fields,''  1885, Oil on canvas. He even had the opportunity to capture Monet painting in a work,  ''Claude Monet, Sketching at the Edge of a Wood,''  ca. 1887, Oil on canvas. In later life he again made his name with watercolors of European scenes.
 
  
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===The Romantic North===
 +
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]].
  
−
'''Symbolism'''
+
===The Impressionists and Post-Impressionists===
 +
[[Image:Cezanne marne.jpg|thumb|200px|''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' by[[ Claude Monet]], [[Camille Pissarro]],[[ Alfred Sisley]] and [[Paul Cezanne]]. Monet's ''Impression: Sunrise'' gave rise to the sarcastic comment, "an exhibition of impressionists."
  
−
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,
+
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.
−
After a spell living with Van Gogh in Provence, Gaughin journeyed to Panama and finally ended his days in Tahiti.
 
  
−
'''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''  "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.
 
  
−
== The American landscape ==
+
===[[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.
  
−
''In The Beginning, All the World was America'' - John Locke
+
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.]]
  
−
''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''
+
===Gallery Russian landscape art===
 +
<gallery>
 +
Image:Kuskovo 1839.jpg|''Kuskovo Palace and Estate of the Counts Sheremetev in Moscow,'' Watercolor, 1839
 +
Image:Ostankino 1858.jpg|''Ostankino palace and manor in Moscow,'' Watercolor by [[Vasily E. Raev]], 1858
 +
Image:Savrasov sukharev tower.JPG|''Sukharev Tower,'' by [[Alexei Kondratyevich Savrasov]], 1872
 +
Image:Moscow I..JPG|''Moscow I,'' by [[Wassily Kandinsky]], 1916
 +
Image:Simonoff.jpg|''Clouds and Golden Domes at the Simonov Monastery,'' [[Apollinary Vasnetsov]], 1927
 +
Image:Nicholas Roerich 008.jpg|''Krishna,'' from the "Kulu" series by [[Nicholas Roerich]], 1929
 +
Image:Nicholas Roerich 009.jpg|''St. Panteleimon the Healer,'' by [[Nicholas Roerich]], 1931
 +
Image:Wladimir Gawriilowitsch Krikhatzkij - The First Tractor.jpg|''The First Tractor,'' by [[Vladimir Krikhatsky]] 
 +
</gallery>
  
−
'''Young America'''
+
===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.
 +
<gallery>
 +
Image:Matisse-Luxe.jpg|''Luxury, Calm, and Pleasure,'' by [[Henri Matisse]], 1904
 +
Image:Matisse-Open-Window.jpg|''Open Window, Collioure,'' by [[Henri Matisse]], 1905
 +
Image:SeineChatou.JPG|''The River Seine at Chatou,'' [[Maurice de Vlaminck]], 1906
 +
Image:Vlaminck-TheCircus.jpg|''The Circus,'' by [[Maurice de Vlaminck]], 1910
 +
</gallery>
  
−
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.
+
==[[Landscape painting (American tradition)]]==
  
−
''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.
+
''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]]''
  
−
'''The Hudson Valley Painters'''
+
===Young America===
 +
[[Image:Washington Allston 002.jpg|thumb|left|''Florimells Flucht,'' by [[Washington Allston]], 1819]]
 +
[[Image:Cole Thomas View in the White Mountains 1827.jpg|thumb|left|''View in the White Mountains,'' by [[Thomas Cole]], 1827]]
 +
[[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.
  
−
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 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.
−
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.
 
  
−
'''Coming of Age'''
+
===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.
  
−
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.
+
===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.
  
−
'''A New Century, New Ideas.'''
+
===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.
  
−
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.
+
[[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.
  
−
'''The first Moderns'''
+
===[[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).
  
−
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.
+
===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.
  
−
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.
+
===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]].
−
'''American Regionalism, the Mid-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'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.
 
−
 
 
−
''' Cape Cod'''
 
−
 
 
−
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,
 
−
''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.
 
−
 
 
−
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.
 
−
 
 
−
'''Towards Realism and a new Realism'''
 
−
 
 
−
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.
 
−
 
 
−
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.
 
−
 
 
−
'''Painterly Realism, Romantics and Expressionists'''.
 
−
 
 
−
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.
 
−
Others include, from the eighties, Don Nice, Sheila Gardner, Susan Shatter, John Gordon, and William Nichols,
 
−
 
 
−
 
 
−
'''The rebirth of impressionism in America: The 1950s and beyond.'''
 
−
 
 
−
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.
 
−
 
 
−
'''Tradition continues.'''
 
−
 
 
−
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.
 
−
 
−
'''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 likes to see 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, He shows us worlds free from danger, impurity and abuse  and allows us to see nature as through the eyes of the newborn child.
 
−
 
 
−
== Other Nations, other landscapes ==
 
−
 
 
−
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.
 
−
 
 
−
== Canada ==
 
  
 +
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.
 +
<gallery>
 +
Image:Tree_450.jpg|''Tree,'' by Benny Andersson
 +
Image:Sea_450.jpg|''Sea,'' by Benny Andersson
 +
Image:Crossing_450.jpg|''Crossing,'' by Benny Andersson
 +
</gallery>
  
 +
==[[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.
 
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|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.
+
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.
+
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."'' - Foreward, Group of 7 Exhibition of Paintings, exhibition catalog, Art Gallery of Toronto, 1922.
 
  
−
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.
+
''"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.
  
−
George Back, 1796-1878, ''Broaching to, - Canoe crossing the Melville Sound,'' 1821, Watercolor, from sketchbook.
+
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.
−
Made during a heroic voyage on an overland Artic expedition to the Coppermine River.
+
[[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 wove paper.
+
[[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.
−
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.
+
[[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.
+
An influential teacher at the [[Art Institute of Montreal]], this was painted in [[England]] with some knowlege of Impressionism.
  
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Franklin Carmichael, 1890-1945, ''Bay of Islands'' 1930, Watercolor on paper.
+
[[Franklin Carmichael]], 1890-1945, ''Bay of Islands'' 1930 (watercolor on paper).
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The youngest member of the ''Group of Seven''  artists, giving a panoramic view north of Lake Superior.
+
The youngest member of the [[Group of Seven]] artists, giving a panoramic view north of [[Lake Superior]].
  
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Emily Carr, 1871-1945, '' Red Cedar,'' 1931-33, Oil on canvas and ''Sky,'' 1935, Oil on wove paper.
+
[[Emily Carr]], 1871-1945, ''Red Cedar,'' 1931-1933 (oil on canvas) and ''Sky,'' 1935 (oil on wove paper).
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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.
+
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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Jack Chambers, 1931-1978, '' Towards London No. 1'' 1968-9, Oil on Mahogany.
+
[[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."
 
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."
  
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Alfred Joseph Casson, 1898-1992, ''Hillside Village.'' 1927, Watercolor on paper.
+
[[Alfred Joseph Casson]], 1898-1992, ''Hillside Village.'' 1927 (Watercolor on paper).
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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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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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== Latin America ==
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===Gallery Canadian landscape art===
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<gallery>
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Image:Mount St Helens erupting at night by Paul Kane.jpg|''Mount St. Helens Erupting at Night'', by [[Paul Kane]], 1847
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Image:Kane Fort Edmonton.jpg|''Fort Edmundton'', by [[Paul Kane]], 1856
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Image:'The Toll Gate', oil on canvas painting by Cornelius Krieghoff, 1859, 17 x 24 in.jpg|''The Toll Gate'', by [[Cornelius Krieghoff]], 1859
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Image:Midsummer.jpg|''Midsummer'', by [[Helen McNicoll]], 1909
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Image:Maurice_Cullen_-_The_Ice_Harvest.jpg|''The Ice Harvest'', by [[Maurice Cullen]], 1913
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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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'''Painted in Latin America'''
+
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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Love of travel and adventure has historically been an important characteristic of American cultural identity. In the 19th 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. These artists from the United States, traveling throughout Central and South America,  Heart of the Andes, as well as the appearance of The Origin of Species by Charles Darwin.recorded in their paintings and drawings an extraordinary body of images of those regions.  The height of artistic activity in the area took place between approximately 1830 and 1880, when draftsmen and painters, both famous and less known, set forth independently or in association with expeditions. Some were purposeful explorers inspired by the natural sciences, while others were simply wanderers, influenced by romantic ideas.  For many of these artists, the experience was the turning point in their careers.
+
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.
 +
[[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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Frederic Edwin Church's (1826-1900) painting, ''Heart of the Andes,'' (1859) is arguably the single most important and enduring of the Latin American landscapes created by a North American artist. However, the first noted artists to set sail for southern shores were Titian Peale (1799-1885) and Frederick Catherwood (1799-1854) in the late 1830s. Norton Bush (1834-1894), who became known as California's premier 'painter of the tropics', and Henry Ferguson (1842-1911), who had been inspired by Church's work, were among the last of the painters in the 1870s to return home from Latin American journeys. Often artists stayed for long periods of time, or made multiple trips. George Catlin (1796-1872), Jacob Ward (1809-1891) and Ferguson each spent up to five years traveling there. Church, Andrew Warren (?-1873), Martin Heade (1819-1904), Catherwood and Bush all made multiple journeys.
+
''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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The western panoramas of Albert Bierstadt (1830-1902) and Thomas Moran (1837-1926) certainly followed the lead of Church's picture.
 
  
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It has been said that New York, artist Norton Bush was encouraged by Church to specialize in 'tropical' views, but it is likely that Bush's fascination with the tropics was fueled by his own journey in 1853 from New York to San Francisco, which took him across the jungles of Nicaragua. After he settled in San Francisco, his patrons were enthusiastic about the exoticism of his luminous works, such as Jungle Scene Sunset. After Church's tropical paintings began to win acclaim in the 1850s, Bush's works began to be praised as close California equivalents, and he became the most prolific and successful California painter of 'tropicals'. In search of subject matter, he made trips to Panama in 1868, and South America in 1875.
+
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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Another California specialist in 'tropicals' was Fortunato Arriola (1827-1872), a Mexican painter who was working in San Francisco by 1858. Arriola's works reflect the smooth surfaces and glowing atmosphere of luminism, and he composed pictures, at times fanciful, of tropical subjects, some of them from memory.  
+
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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Others important works are Louis Mignot's (1831-1870) ''Lagoon of the Guayaquil;''  Heade's
+
[[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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''Passion Flowers and Hummingbirds;''  and James Whistler's (1834-1903)  ''Nocturne in Blue and Gold: Valparaiso.''  Critics have repeatedly noted that for artists who painted in Latin American their visits gave rise to some of their finest and most original works, and was an experience that had permanent influence on their style.
 
  
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Motivations for mid 19th-century artists to travel South were varied. One reason was a basic curiosity about the southern parts of the Western hemisphere because for some Americans it was a time of a developing interest in Pan-Americanism, a sense of shared community with all peoples, North and South, of the American continent. It was a growing awareness of the uniqueness of the Western hemisphere, and some major painters had begun to think of 'Western landscape' not only in national but also hemispheric terms. In relation to Latin America, an increasing number of United States citizens were beginning to regard that region as a 'member of the family' and not foreign. Central and South America, according to the Monroe Doctrine, were considered geographical extensions of the United States, a sort of American 'spiritual property'. These attitudes, albeit proprietary, began to manifest themselves in politics, economics, science and art.
+
[[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.
  
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United States travelers filled with a spirit of exploration and inspired by literature, scientific curiosity and adventure took advantage of newly established steamship and railroad lines, and headed south into areas such as Ecuador, Peru, Chile, Brazil and Argentina.  Henry Walke's (1809-1896) painting  ''U.S.S. North Carolina Entering the Harbor at Rio de Janeiro''  (1848) recalls what sailing must have been like along the coasts.  
+
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.
  
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Drexel's fellow Philadelphian, Titian Peale, stirred by Humboldt's accounts, made his first of several trips to South America in 1830, and was the earliest forerunner of the artist-naturalists who were to make numerous expeditions South. Peale's second trip was in 1838-39, as part of the Charles Wilkes (1798-1877) Expedition, which included draftsmen Alfred Agate (1812-1846) and Joseph Drayton (1795-1856).
+
''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.
  
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The Mexican War of the 1840s, along with the California Gold Rush, signaled an irreversible turn of interest towards Central and South America. The discovery of gold attracted countless travelers from the East, many of them journeying to the gold fields on ships via South America's Cape Horn or the Isthmus of Panama. Charles Christian Nahl (1818-1878) was one of numerous artists who became familiar with the dangers of the Panama route, which he recorded in such paintings as
+
''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).
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''Incident on the Chagres River.''  He painted additional scenes of life on the Isthmus of Panama onto the walls of a San Francisco restaurant and hostelry, ''The Railroad House,'' which were regarded by later artist and Latin-American traveler Charles Dorman Robinson (1847-1933) to be un-excelled for 'truth, color, or design'.  
 
  
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New York landscape and genre painter Alburtus Del Orient Browere, (1814-1887), lured by the prospect of gold, traveled between East and West during the 1850s, first via Cape Horn, and later via the Isthmus. His landscapes, perhaps inspired by the views recently exhibited by Frederic Church, detail the tropical scenery he observed while making these travels.
+
[[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.
  
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One of the lesser-known artists who did significant travel in Central America just before the Civil War was DeWitt Hitchcock (1832-1901). He traveled with Ephraim George Squier making landscape views of Nicaragua, San Salvador, Honduras and Panama. These scenes were subsequently lithographed for a publication, ''Squier’s Notes'' on Central America and were of special interest to United States capitalists who were planning shipping ventures and already thinking of a canal in Panama.  
+
===Gallery Australian landscape art===
 +
<gallery>
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Image:Painting of Augusta by Thomas Turner, 1830s.jpg|''Painting of Augusta,'' by [[Thomas Turner]], 1830s
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Image:Patterdale landscape.jpg|''Patterdale Landscape,'' by [[John Glover]], 1835
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Image:Louis buvelot macedon ranges 1874.jpg|''Macedon Ranges,'' by [[Louis Buvelot]], 1874
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Image:Withers_storm_1896_wynne_prize.jpg|''The Storm,'' by [[Walter Withers]], 1896
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Image:McCubbin pioneer1904.jpg|''The Pioneer,'' by [[Frederick McCubbin]], 1904
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Image:Anzac, the landing 1915.jpg|''Anzac, the landing,'' by [[John Lambert]], 1920
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Image:Camel corps at Magdhaba.jpg|''Camel Corps at Magdhaba,'' by [[H. Septimus Power]], 1925
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</gallery>
  
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In the 1860s, noted eastern artist Albert Bierstadt (1830-1902) journeyed overland to California, but returned to New York via the Isthmus. Peter Baumgras (1827- 1903) of Washington D.C. exhibited Panamanian and Mexican subjects at the Art Association in 1872 and 1873, after visiting California via the Panamanian route. Heading to California to paint in the early 1870s, Lemuel M. Wiles (1826-1905) of New York also traveled through Panama and Central America, which resulted in his painting,  ''Coast of Santa Cruz.''
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==[[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.
  
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Swiss-born Agassiz was in the forefront of those opposing Darwin's theories in Origin of the Species. Taking a stand against the philosophy of evolution, he set forth to Brazil with his wife to explore such questions. Enlisted as a draftsman artist for the expedition was Jacques Burkhardt (1808-1867), creator of works such as  ''Fishing Among the Rocks'' (1865/1866, watercolor on paper).
+
===Gallery Latin American landscape art===
 +
<gallery>
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Image:Church Heart of the Andes.jpg|''Heart of the Andes,'' by [[Frederic Edwin Church]], 1859
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Image:Mandan Bull Boats and Lodges- George Catlin.jpg|''Bull Boats and Lodges,'' by [[George Catlin]]
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Image:Bright house rehoboth beach titian ramsay peale.jpg|''Bright House Rehoboth Beach,'' by [[Titian Ramsay Peale]]
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Image:Martin Johnson Heade 001.jpg|''Orchids, Passion Flowers and Hummingbird,'' by [[Martin Heade]], 1880
 +
</gallery>
  
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It was only as people of the North learned more about those regions that preconceived notions would be altered, and age-old myths about what lay south of our borders lingered until late in the 19th Century. What artists created were primarily landscape images, although some, such as George Catlin depicted native Indians. In general, nature took precedence over living inhabitants or depictions of ruins of earlier civilizations. These 19th-century artists perceived Latin America in terms of vast, uncultivated, primeval space, as was also often the case in views painted then of the northern continent, where nature was emphasized over culture. Latin America was seen as a Garden of Eden, and references to Eden, Arcadia, paradise, Atlantis, etc were often applied to the views depicted.
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===Twentieth century Latin America art===
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There are a few landscape painters in each nation of Latin America.
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[[Image:J. BERNAL, CAMPFIRE IN THE WOODS, 1950.jpg|thumb|200px|''Campfire in the Woods,'' by [[José Bernal]], 1950]]
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[[Image:BQM Dia de Sol (1958).jpg|thumb|200px|''Dia de Sol,'' by [[Benito Quinquela Martín]], 1958]]
  
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Church is famous for his Andean panoramas. Mignot, who traveled with Church to Ecuador in 1857, is known for his lush and dreamy riverscapes, a subject no doubt familiar to him from his childhood growing up in South Carolina. Whistler is noted for his nocturnes, especially of the harbor at Valparaiso, in which he often incorporated elements of oriental design. As it had been since the time of Columbus' explorations for the East Indies, Latin America continued to be linked with the Orient, and Whistler's threading together of the two is symbolic of a recurrent theme in history, where Latin America as the meeting place of East and West.
+
;[[Mexico]]
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[[Carlos Orozco Romero]], ''Sueno (Dream),'' 1940 (oil on canvas) private collection, [[Mexico City.]]
  
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John Mix Stanley (1814-1872) had traveled across the Isthmus in 1853, en route east after spending time in the northwest painting portraits, landscapes, and working in association with a Pacific Railroad survey. Martin Heade visited the region in 1866, and the following year exhibited his ''Lagoon in Nicaragua.'' Lake Nicaragua became an important theme also in Norton Bush's art during the 1870s, exemplified by  ''Sunset over Lake Nicaragua.'' Other artists from the United States, including Andrew Warren painted many pictures of the Nicaraguan scenery around this time, a fact that reflects the public's demand for such images. In 1883, Church painted  ''Twilight on the Isthmus of Panama.''
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[[Manuel Gonzalez Serrano]], ''Aprendices de Toreo (Bullfighters' apprentices)'' 1948 (oil on wood) private collection.
 +
   
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;[[Central America]], [[Honduras]]
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[[Jose Antonio Valasquez]], ''Paisaje (Landscape),'' 1976 (oil on canvas) private collection.
  
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Many artists went South seeking to explore questions of the earth's origins. George Catlin, for example, was intrigued with the role volcanoes played in the earth's formation. Primarily a painter of the American West, and an expatriate living in London and Paris, he spent five years traveling extensively in South America. No other artist searched more urgently for answers to the questions of the origins of America's people. Many of his Latin American works were sketches, but an example of his oils is  ''Ambush for Flamingos'' (1857).
+
;[[ Nicaragua]]
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[[Arnoldo Guillen]], ''Coloso VIII (Colossus VIII),'' 1993 (acrylic on canvas) [[Managua]].
  
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Vignettes of penitent natives, wayside crosses, and mission churches were, however, often included as touches of 'local color', and served as elements of romanticism. Thatch-roofed village churches and gold-domed cathedrals became stock features in many panoramic landscapes. Colonial churches are recognizable by their domes and steeples, as in Andrew Warren's  ''The Old Cathedral of Panama.'' The frequency with which they are evident in Church's works, such as the dome visible in  ''Mountains of Ecuador'' (1855), prompts the viewer to question whether they may have also served as a double function pun on that artist's own name, as he was known to sometimes sign his letters home with the picture of a church.
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;[[Costa Rica]]
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[[Asilia Guillen]], ''Autorretrato de la Artista Pintado (Self-Portrait of the Artist Painting),'' 1954 (oil on canvas) private collection.
  
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Numerous 19th-century American artists headed for Latin America mid-century, to experience its balance of familiar and foreign, as well the 'otherness' that they sought.
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[[Teodorico Quiros]], ''Caserio (Village),'' 1946 (oil on canvas) private collection.
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Because of their varied experiences, this group of adventurous individuals redefined themselves as American artists by going South instead of West. They helped shape our visions of these little-known lands, as well as adding to a feeling of Americanism in a hemispheric sense. Through them, Latin America has made a significant contribution to the development of American landscape painting.
 
  
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Compiled and written by Teta Collins, April 2005
+
;[[Panama]]
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[[Roberto Lewis]], ''Tamarindos (Tamarind Trees),'' 1948 (oil on canvas) private collection.
  
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Sources:
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;[[Cuba]]
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[[Leopoldo Romanach]], ''Cruzando El Rio (Fording the River),'' 1900 (oil on canvas) private collection.
  
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Katherine Emma Manthorne, author of Tropical Renaissance, North American Artists Exploring Latin America, 1839-1879; Biographical and auction data of the AskART database
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[[Tomas Sanchez]], ''Buscador de Bosques (Seeker of Forests),'' 1991 (acrylic on canvas) private collection.
  
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email: registrar@AskART.com
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;[[Dominican Republic]]
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[[Yoryi Morel]], ''A La Fiesta (At the Fiesta),'' 1948 (oil on canvas) [[Museo Juan Jose Bellapart,]] [[Santa Domingo]].
  
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Amongst the many artists painting in Latin America in the Twentieth Century there are a few that work in landscape.
+
;[[Puerto Rico]]
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[[Virginia Patrone]] ''La Hora de las Puertas Cerradas,'' 2005 (acrylic on canvas) private collection.
  
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'''Mexico'''
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== Landscape painting (Eastern tradition) ==
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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.
  
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Carlos Orozco Romero,  ''Sueno (Dream)''  1940, Oil on canvas, private collection, Mexico City.
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===[[India]] landscape art and philosophy===
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Manuel Gonzalez Serrano,  ''Aprendices de Toreo (Bullfighters' apprentices)'' 1948, Oil on wood, private collection.
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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]].
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None of these pictures portrayed landscape as such but occasionally small elements would be act as a backdrop.
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'''Central America, Honduras'''
 
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Jose Antonio Valasquez,  ''Paisaje (Landscape)'' 1976, Oil on canvas, private collection.
 
  
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'''Central America, Nicaragua'''
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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.
  
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Arnoldo Guillen, ''Coloso VIII (Colossus VIII)''  1993, Acrylic on canvas, Managua.
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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.
  
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'''Central America, Costa Rica'''
+
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.
  
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Asilia Guillen, ''Autorretrato de la Artista Pintado (Self-Portrait of the Artist Painting)''
+
===Gallery India landscape art===
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1954, Oil on canvas, private collection.
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<gallery>
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Teodorico Quiros, ''Caserio (Village)'' 1946, Oil on canvas, private collection.
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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
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Image:Radha and Krishna in Discussion.jpg|''Bahsoli painting of Radha and Krishna in Discussion,'' Gita Govinda-manuscript, Gouache on paper, 1730
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Image:Akbar and Tansen visit Haridas.jpg|''Akbar and Tansen visit Haridas in Vrindavan,'' by [[Jaipur-Kishangarh]], 1750
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Image:Meister des Gîtâ-Govinda-Manuskripts 001.jpg|''Krishna embraces Gopîs,'' Gîtâ-Govinda-manuscript, 1765
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Image:Indischer Maler von 1780 001.jpg|''Rama and Sita in the Forest,'' by [[Maler von Indischer]], 1780
 +
</gallery>
  
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'''Central America, Panama'''
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===[[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.
  
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Roberto Lewis, ''Tamarindos (Tamarind Trees)'' 1948, oil on canvas, private collection.
+
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.
  
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'''Cuba'''
+
===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 AD.jpg|''Seated Princess,'' by [[Muhammad-Sharif Musawwir]], circa 1600
 +
Image:Gagarin PropovedMagometGRM.jpg|''[[Muhammad]] preaching,'' by [[Grigory Gagarin]], 1840&ndash;1850
 +
</gallery>
  
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Leopoldo Romanach,  ''Cruzando El Rio (Fording the River)''  c.1900 Oil on canvas, private collection.
+
===Chinese landscape art and philosophy===
−
Tomas Sanchez, '' Buscador de Bosques (Seeker of Forests)''  1991, Acrylic on canvas, private collection.
+
[[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).]]
 +
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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'''Dominican Republic'''
+
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.
  
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Yoryi Morel,  ''A La Fiesta (At the Fiesta)'' 1948, Oil on canvas, Museo Juan Jose Bellapart, Santa Domingo.
+
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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'''Puerto Rico'''
+
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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Francisco Oller Y Cestero, ''Hacienda Aurora,''  1808-9, Oil on board, Museo de Arte de Ponce
+
===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.
 +
Image:Zhao Meng Fu Autumn Colors Part1.jpg|''Autumn Colors Part 1'', by [[Zhao Meng Fu]]
 +
Image:Zhao Meng Fu Autumn Colors Part2.jpg|''Autumn colors Part 2'', by [[Zhao Meng Fu]]
 +
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)
 +
Image:Rimpa-SpringLandscape.jpg|Spring Landscape Rimpa School, 18th century six-panel screen ink, gofun and gold leaf on paper.
 +
Image:Freer 019.jpg|Peach Festival of the Queen Mother of the West, [[Ming Dynasty]] early 17th century, by an anonymous artist.
 +
Image:Peonies by Yun Shouping.jpg|''Peonies'', by [[Yun Shouping]], late 17th century, [[Qing dynasty]]
 +
</gallery>
  
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== Australia ==
+
===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.
  
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Back to Australian Tales
+
* [[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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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.
+
* 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.
  
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This small selection of Australian landscape painting, beginning with the period of European settlement, highlights different ways of depicting land and organising 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.
+
Japanese paintings may evoke an association with landscapes and natural scenes drawn with a few simple brush strokes.
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It is interesting to note changes in regards 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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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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'Muntham' by Thomas Clark (1814-1883), painted approximately five years later than 'Tower Hill' shows measured paddocks, denuded hills, grazing animals and farm-workers - no sense of the unknown here! Our eyes tend to settle in the valleys where the homestead nestles. Unlike von Guerard, Clark is not interested in exploration or botanical correctness but rather in belonging and ownership.
 
  
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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.
+
===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>
  
−
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.
+
===Korean landscape painting===
  
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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 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.
+
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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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.
+
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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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 11 when Nolan was himself hiding out from army authorities after deserting.
+
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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In 'Yellow Landscape', Fred Williams (1927-82) also disturbs the organisation 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.
+
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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In 'Eagle Landscape' by William Robinson (b. 1936) the horizon line is 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.
+
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.
  
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'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 ochres from her native Tasmania mixed with encaustic (pigment mixed with molten wax).
+
Hunting scenes, familiar throughout the entire world, are often seen in Korean courtly art, and are reminiscent of [[Mongolian]] and [[Persian]] hunting scenes.
  
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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.
+
;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.
  
−
Deborah Vaughan
+
;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.
  
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http://archive.amol.org.au/discovernet/tales/landscape.asp
+
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]].
  
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== Russia ==
+
[[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.
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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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Examples are; Isak Leitan,  ''Above Eternal Rest,''  1894, Oil on canvas, The State Tretyakov Gallery, Moscow,
+
===Gallery Korean landscape art===
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Silvester Schedrin, Russian Romantic, ''A Small Harbour in Sorrento near Naples'' Oil on canvas, The State Tretyakov Gallery, Moscow.
+
<gallery>
−
Alexander Ivanov, between Classicism and Romanticism,  ''Via Appia,'' 1845, Oil on canvas, The State Tretyakov Gallery, Moscow,
+
Image:Kumgangsan by cheongseon.jpg|''[[Geumgangsan]]'', ink and oriental watercolor on paper, by [[Jeong Seon]], 1734
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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,
+
Image:Maehwaseo.jpg|''"Maehwaseookdo'', by [[Jo Hee-ryong]]
−
Alexei Venetsianov  ''On the Harvest: Summer,'' Oil on canvas, The State Tretyakov Gallery, Moscow,
+
Image:Hwangmyo.jpg|''Hwangmyonongjeopdo'', by [[Kim Hong-do]], late 18th century
−
Nikifor Krylov, '' Winter Landscape,''  1827, Oil on canvas, State Russian Museum, St. Petersburg,
+
Image:Joyucheong.jpg|''Juyucheonggangdo'', by [[Shin Yun-bok]], 1805
−
Grigorii Soroka,  ''FishermenWe,'' 1840s, Oil on canvas, State Russian Museum, St. Petersburg,
+
</gallery>
−
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,''  1905-08, Oil on canvas, State Russian Museum, St. 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, St. Petersburg,
 
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Aristarkh Lentulov, Cubist, ''Moscow,'' 1913, Oil on canvas, The State Tretyakov Gallery, Moscow,
 
−
Vasily Kandinsky,  ''Sketch For Composition,'' 1909-10, Oil on canvas, Solomon R. Guggenheim Museum, New York,
 
−
Kasmir Malevich, Red Cavalry, 1928-32 Oil on canvas, State Russian Museum, St. Petersburg.
 
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Alexander Labas,  ''The Train is Going,''  1929, Oil on canvas, State Russian Museum, St. Petersburg,
 
−
Alexander Deineka, ''Collective Farmworker on a Bicycle,''  1935, Oil on canvas, State Russian Museum, St. Petersburg,
 
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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.
 
  
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==The Importance of Landscape painting==
+
==The Importance and impact 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.
+
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.
+
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.
  
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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.
+
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 great romantic, Lafcadio Hearn wrote from Japan, a century ago:
+
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.
+
<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>
  
 
==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.
+
*''[[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.
−
*[[Moonscape]]s show the landscape of a moon.
+
*[[Moonscape]]s show the landscape of a [[moon]].
−
*[[Seascape]]s depict oceans or beaches.
+
*[[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.]
+
*[[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==
Line 439: Line 451:
 
==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
+
* Arthur, John. ''Spirit of Place, Contemporary Landscape Painting & The American tradition.'' Bullfinch Press, 1989. ISBN 0821217070
−
* Bazarov, Konstantin, ''Landscape painting'',1981.  London: Octopus Books; NY: Mayflower Books, OCLC 8686498
+
* 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 0-714-81407-5
+
* 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'' 1979 Arnoldo Mondadori Editore S.p.A., Milano  English translation copyright Arnoldo Mondadori Editore S.p.A.,Milano ISBN 0-688-03678-3
+
* 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
+
* 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
+
* 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.
+
* 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
+
* 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
+
* 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
+
* 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
+
* 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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===Canada===
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===Japan===
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* http://images.artelino.com/images/images/japanese-painting2.jpg  Retrieved October 7, 2007.
 

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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