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.

Read more...

Field work in March with the castle of Lusignan in the background. The Très Riches Heures of the Duke of Berry (1411-1416)

Storm de Giorgione (to 1505)

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"
    Click on a thumbnail to enlarge it.

Source: Extract from articles Wikipedia.

Fold back

Landscape, works in the gallery

 

 

Search in the gallery

[wpdreams_ajaxsearchpro id = 1]

 

 

Secure Payment

Guarantee

Free Return (14 days in the EU)

Pin It on Pinterest