Landscape, history.
At the Renaissance, the landscape is used to express the utopias urban and emerging policies. First "perceived" in the representations of interior scenes through the window frames, it will take an increasingly important place, until it occupies the entire surface of the canvas, as in the famous Giorgione's Storm, first painting where the landscape occupies the preponderant place. Landscape painting developed particularly at this time in the Netherlands where the Protestant reform forbids images in churches
La art critic has long designated the Antwerp painter Joachim Patinier as the inventor of the landscape forming a genre apart and self-sufficient8.
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At the same time, the characters in the religious scenes outside will “shrink” until they are almost no longer symbolized except by the elements of the landscape (eg: the Christchurch by a mountain)9
However, the landscape does not really take off until xviie century, with the development of collecting. In Flanders, the first representation of an independent landscape is that of Joachim Patinier. Roger de Piles distinguish three types of landscapes10 :
- Le heroic landscape, where an ideal, grandiose nature is represented, tamed by Man. The representation is then not credible, but recomposed to sublimate nature and make it perfect; in general, a story is hidden in this type of landscape, whose clichés are the presence of elements of Roman architecture, combined with a mountain or a hill and a body of water. The three important centers of this type of representation are Rome, with Annibale Carracci, the creator of this type, and his followers Albane, The Dominiquin, Poussin…, but also Paris and Holland. In the first half of the xviiie century, the landscape constitutes the ideal framework of a life sensitive to more naturalness, in the painting of WatteauEg.
- The landscape idyllic ou rural offers a more naturalistic and humanistic vision of the harmony between Man and nature with Jacob van Ruisdael et Jan Van Goyen. In general, this one is grandiose, abundant and wild, often represented during storms and thunderstorms. If this vision is more credible, it is not necessary that a specific place be represented. We therefore find works of this type among the small masters of the northern schools in the vein of the success obtained by Ruisdael and Van Goyen, and also sometimes in the paintings and engravings of Rubens, Rembrandt et Salvator Rosa.
- The topographic landscape, or view, which necessarily represents a precise and identifiable place, with a nature presented in a more humble and detailed way, in any case closer to the observed reality. This genre is quite characteristic of the Dutch school, where painters are extremely specialized (there are painters from winter landscapes, forests, canals, towns ...): Vermeer, with his famous View of Delft, is probably its most famous representative. In the second half of the xviiie century, the landscape becomes a major stake for a direct experiment taken on the ground, for a concern of exactitude which depends on the same approach as that of the Encyclopedists. This pre-photographic practice, which is found throughout Europe, has been highlighted among historians of photography. There are also many topographers as Claude-Joseph Vernet et Thomas girtin that landscape painters inspired by Antiquity such as Pierre-Henri of Valenciennes including sky studies on prepared paper or Georges michel and his views of distant Paris seem surprisingly "modern"
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Landscape with river by Annibale Carracci(1589)
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View of Antwerp with the frozen Schelde by Lucas van Valckenborch(1593)
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View of Toledo by El Greek (1596-1600)
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Saint John in a landscape by Paul Bril(1590-1595).
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View of Delft by Vermeer(1659-1660).
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Summer evening, landscape in Italy by Claude-Joseph Vernet (1773)
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Historical landscape by Pierre-Henri of Valenciennes (1800)
From pre-Romanticism in Europe: infinite and formless of the autonomous landscape, image of man and society[change | modify the code]
During the Romantic period, the landscape became an actor or producer of emotions and subjective experiences. The picturesque and sublime thus appear as two modes of vision of the landscapes. The first ones tourist guides take these points of view to create a popular look at sites and landscapes. The painters of thebarbizon school, the realistic painters see in the landscape as correspondences being built with the society of the men, which is then in full mutation and seeks to read in the landscape as a lesson to be deciphered. The artist's gesture, his power to decipher the landscape and to recompose it in the painting, becomes an important factor in the expressive and significant value of the painting.
Modern painters like photographers cut out points of view, structure, play with light[change | modify the code]
By making the landscape the object of meticulous and relative observation in terms of light as well as colors,impressionism gives it a very different role in order to create a representation faithful to the lived perception that an observer can have of it. This fidelity in restitution, which is expressed for example in the contrastes and the “vibrating” keys, is undoubtedly one of the sources of the passion for impressionism (one often speaks of “impressionist miracle” for the analysis of optical and luminous phenomena in the rendering of artists like Claude Monet).
The suppression of the point of view[change | modify the code]
Le cubism offers, mainly through the voice and work ofAndre Lhote, a return to compound landscape. It is about producing the signs that express a country, rather than a view perspective of this country, in an anecdotal place and time11.
THEabstraction in its various forms will withdraw, from the first compositions of Kandinsky, much of the detailed description of the landscape seeing in it the mark of intangible forces, although the expression "abstract landscape" is often used in connection with several non-figurative painters (Bazain, The Moal ou manessier) or Zao Wou-Ki, in alyrical abstraction, among many others.
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The traveler contemplating a sea of clouds de Caspar David Friedrich (1818); classic representation of romanticism German.
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The hay cart de John constable (1821); romanticism early.
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The Caucasus byIvan Aivazovsky (1863); romanticism late.
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City of Avray (in) de Jean-Baptiste-Camille Corot (v. 1867); barbizon school.
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Lordship Lane Station de Camille Pissarro, (c. 1870); impressionism.
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Sainte-Victoire mountainde Paul Cézanne (1882-1885); Post-Impressionism
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Branch of the Seine near Giverny de Claude Monet (1897); outside.
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Above eternal peace byIsaac levitan(1894)
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Source: Extract from articles Wikipedia.
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