![]() An early topographical painting was the Swiss Konrad Witz’s The Miraculous Draught of Fishes (1444) which depicted Lake Geneva.Īlbrecht Durer (1471 – 1528), an outstanding draughtsman and water-colorist, painted scenes of Innsbruck in 1494 and later, scenes of lakes that are not unlike those of Turner in the nineteenth century. While some Italian artists painted realistic scenes, most the landscapes were merely a “decorative and romantic” image (Hunter, 1985). For example, Sandro Botticelli (1445-1510) included glimpses of landscapes of northern Europe rather than of Italy in some paintings such as Adoration of the Magi (1481). The Flemish influence extended south to Italy and influenced Renaissance artists there. The seasons in the countryside were a popular theme the works of Pieter Brueghel the Younger (1564 – 1638) are perhaps the best known and depicted plump peasants disporting themselves in various rural and household activities, with houses and trees depicted accurately and a pleasing unity created from the various elements of the paintings. Other artists of the Low Countries including Dierick Bouts, Roger van der Weyden, Joachim de Patenir, Simon Bennick, Hieronymus Bosch and Pieter Brueghel the Elder (1525 – 1569) followed the lead of the Van Eycks. Their 1432 altarpiece at Ghent accurately represented plants in a luxuriant valley with rocky vegetated walls. The Flemish paintings of the Van Eyck brothers of this time portrayed realistic landscapes. ![]() WikimediaCommons de Limbourg brothers, 1416, Tres Riches Heure du Duc de Berry Lord Kenneth Clark, the eminent art historian (1903 – 83), considered them significant because they lay between symbol and fact. the very rich hours of the Duke of Berry), on the theme of the months in the countryside. The brothers de Limbourg, achieved a more realistic depiction of landscapes in France in 1416 with the paintings, Très Riches Heure (i.e. Fra Angelico (1387-1455) painted Noli me Tangere (literally “Don’t touch me” spoken by Jesus to Mary Magdalene after his resurrection) with flowers and trees, but they lacked any sense of reality. The frescoes lacked Francis’s empathy for the natural world. Giotto’s frescoes of the life of St Francis, painted at the Basilica in Assisi between 12, included trees as symbols. In Western culture, the first glimpse of landscapes appear as early as the thirteenth century as backgrounds to scenes of the Virgin, Nativity or other religious subjects. In this theme, we examine the emergence and development of landscape art, the interpretation of the landscape by the artist’s eye. The art historian Otto Pacht (1902 – 88) wrote, The discovery of the aesthetic value of landscape was the final outcome of a complex ripening process in which every form of imagination was involved and which concerned the entire attitude of man towards his physical environment(Shepard, 1967). The Western concept of a view or a scene as a way of conceptualizing landscape was unknown to the Aborigines (Taylor, 1994). ![]() They are painted as a plan view from above and require interpretation. Paintings by Australian Aborigines are depictions of Dreamtime stories representing relationships between elements that symbolize features such as streams, billabongs, rocks, snakes and meeting places. In addition, the many inscriptions praising the work of architects and builders were in terms of the durability and strength of the work, never its beauty (Beardsley, 1966). The ancient Egyptians appeared disinterested in aesthetics – their fine sculptures and paintings were located in tombs and temples rather than being for general view. These paintings were motivated by something other than an aesthetic desire possibly they are totemic, religious, a charm to ward off spirits or represented possession of a locality. An analysis of 2188 figures in 66 caves in Europe painted 3,000 – 8,000 BC found they all depicted animals (Leroi-Gouram, 1982, Ruspoli, 1987). Certainly, landscape scenes were never included. Interest-ingly, no Palaeolithic cave paintings contain scenes of nature other than animals and some human forms not even the ground is depicted. The very concept of capturing in a small picture an image of the wider world is itself a staggering advance. Landscape in 19 th century art Click hereĪs an expressive medium, paintings and drawings often reflect the idealized essence of that form of the physical environment that is regarded as beautiful by the prevailing culture. Landscape in 18 th century art Click here ![]() Landscape in 17 th century art Click hereġ7 th century landscape tastes Click here Landscape in pre-17 th century art Click here ![]()
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