Scenic Painting , also known as landscape art , is a depiction of landscapes in art - landscapes such as mountains, valleys, trees, rivers, and forests, especially where the subject is the subject which is vast - with its elements arranged into a coherent composition. In other works, the landscape background for numbers can remain an important part of the job. The sky is almost always included in the view, and the weather is often a composition element. Detailed landscapes as distinct subjects are not found in all artistic traditions, and develop when there is a sophisticated tradition to represent other subjects.
Two major traditions arise from Western painting and Chinese art, which return more than a thousand years in both cases. The recognition of the spiritual element in landscape art comes from its beginnings in East Asian art, attracting Taoism and other philosophical traditions, but in the West it is only explicit with Romanticism.
The landscape landscape in art may be entirely imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of an image is to describe the actual, specific, especially the prominent building, it is called topographical view . Such a view, which is very common as a mold in the West, is often seen as inferior to the landscape of art, although the difference is not always meaningful; Similar prejudices arise in Chinese art, where literati paintings usually depict imaginary views, while professional court artists paint real landscapes, often including palaces and cities.
The word "landscape" enters modern English like landslips, a Dutch anglization of landschap, dating back to the early seventeenth century, purely as a term for art, with the use of first as a word for painting in 1598. Within a few decades was used to describe the scene in poetry, and finally as a term for real views. However, the cluster term landscaef or landscipe for empty land already exists in Old English, although not recorded from Central English.
Video Landscape painting
History
The earliest art form around the world depicts a bit that can really be called a landscape, though stripes and sometimes indications of mountains, trees or other natural features are included. The earliest "pure landscape" without a human figure is a wall painting of the Greek Minoan around 1500 BC.
The hunting scenes, especially those set in the closed valley of the Nile Delta Reef bed of Ancient Egypt, can provide a strong sense of place, but the emphasis is on the shape of individual plants and human and animal figures rather than the overall landscape setting. The paintings of Tomb of Nebamun, now in the British Museum (circa 1350 BC), are notable examples.
For the coherent portrayal of the entire landscape, some rough systems of perspective, or scale for distance, are needed, and this seems from literary evidence for the first time developed in Ancient Greece in the Hellenistic period, although no large-scale examples survive. The older Roman landscape survives, from the 1st century BC onwards, especially paintings of scenic decoration spaces that have been preserved on the archaeological sites of Pompeii, Herculaneum and elsewhere, and mosaics.
The traditional Chinese ink tradition of shan shui ("water-mountain"), or "pure" landscape, in which the only sign of human life is usually a wise man, or a glimpse of his hut, using sophisticated landscape backgrounds to describe the subject, and landscape art this period retains its classical status and is much imitated in Chinese tradition.
The Roman and Chinese traditions typically show a great landscape of imaginary landscapes, generally supported by spectacular mountains - in China often with waterfalls and in Rome often including oceans, lakes or rivers. This is often used, as in the illustrated example, to bridge the gap between foreground scenes with distant panoramic figures and vista, a persistent problem for landscape artists. Chinese style generally only shows a distant view, or uses dead ground or fog to avoid the difficulty.
A big difference between landscape painting in the West and East Asia is that while in the West until the 19th century it occupied a low position in the accepted genre hierarchy, in East Asia the classic water-ink painting is traditionally the most prestigious form of prestigious art. The aesthetic theories in both regions give the highest status to the works that are considered most in need of the artist's imagination. In the West this is a historical painting, but in East Asia it is an imaginary landscape, where famous practitioners, at least in theory, amateur writers, including some Chinese and Japanese Emperors. They are often also poets whose lines and pictures are pictorial.
However, in the West, historical painting came to require a broad landscape background where appropriate, so this theory did not fully work against the development of landscape painting - for several centuries the landscape was regularly promoted to historical painting status with the addition of small numbers to create narrative scenes , usually religious or mythological.
Western Traditions
Medieval
At the beginning of Western medieval art interest in the landscape almost completely vanished, surviving only in copies of late Antique works such as Psalter Utrecht; the last reworking of this source, in the early Gothic version, reduced the previously large landscape to several trees that fill the void in composition, without the overall sense of space. The awakening of interest in nature initially manifests in small garden depictions such as Hortus Conclusus or those on the millefleur rugs. The paintings of figures in the workplace or playing in front of the background of dense trees at the Pope's Palace, Avignon may be the unique survival of what is a common subject. Some of the garden paintings have survived from Roman houses like the Villa of Livia.
During the 14th century Giotto in Bondone and his followers began to recognize nature in their work, increasingly introducing landscape elements as setting background for the actions of the characters in their paintings. At the beginning of the fifteenth century, landscape painting was defined as a genre in Europe, as a backdrop for human activity, often expressed in religious subjects, such as the themes of Rest in Flight to Egypt , Journey of the Magi , or Saint Jerome in the Desert . Plush-striped manuscripts are crucial in the early development of landscapes, especially the Moon-Month Workers series such as those in TrÃÆ'¨s Riches Heures du Duc de Berry, which conventionally show small genre figures in an increasingly large landscape setting. Special advances are shown in the lesser-known Milan-Milan Clock, now largely destroyed by fire, whose development is reflected in the early Dutch painting for the rest of the century. The artist known as "Hand G", perhaps one of Van Eyck's brothers, is very successful in reproducing the effects of light and in a natural-looking development from the foreground to the far-flung view. This is something hard to find by other artists for a century or more, often solving problems by pointing out landscape backgrounds from the top of the parapet or window sill, as if from a high enough height.
Renaissance
The landscape background for various types of paintings became increasingly prominent and skilled during the 15th century. The period around the end of the 15th century sees images of pure landscapes and watercolors from Leonardo da Vinci, Albrecht DÃÆ'¼rer, Fra Bartolomeo and others, but the subject of pure landscapes in painting and graphic art, is still small, first produced by Albrecht Altdorfer and other from the German Danube School in the early 16th century. At the same time Joachim Patinir in the Netherlands developed the "landscape of the world" a panoramic landscape style with small figures and using a high air viewpoint, which remained in effect for a century, was used and refined by Pieter Brueghel the Elder. The Italian development of a thorough system from a graphical perspective is now known throughout Europe, allowing a large and complex view to be painted very effectively.
The landscape is idealized, largely reflecting a pastoral idea derived from the classical poetry first expressed entirely by Giorgione and the young Titian, and still being associated above all with the heavily forested landscape of Italy, depicted by artists from Northern Europe who have never visited Italy, like the literati who lived in China and Japan painted the fiery mountains. Although often young artists are encouraged to visit Italy to experience the Italian light, many North European artists can make their life selling the Italianate landscape without ever bothering to travel. Indeed, certain styles are so popular that they become formulas that can be copied over and over again.
The publication in Antwerp in 1559 and 1561 of two series of a total of 48 prints (The the 17th and 18th centuries
The popularity of exotic landscape scenes can be seen in the success of Frans Post painter, who spent the rest of his life painting the Brazilian landscape after traveling there in 1636-1644. Other painters who never cross the Alps can make money selling the Rhineland landscape, and others to build fantasy scenes for certain commissions such as Cornelis de Man's view of Smeerenburg in 1639.
Compositional formulas that use elements such as repoussoir have evolved that remain influential in modern photography and painting, especially by Poussin and Claude Lorrain, both French artists who lived in 17th-century Rome and painted most of the classical subjects, or scenes of the Bible arranged in the same landscape. Unlike their Dutchmen, Italian and French landscape artists still most often want to keep their classification in the genre hierarchy as a historical painting by including small figures to represent a scene from classical mythology or the Bible. Salvator Rosa provides a wonderful passion for its scenery by pointing out the more wild, southern Italian country, often inhabited by bandits.
The 17th-century Golden Age painting sees the dramatic growth of landscape paintings, in which many artists specialize, and the development of very fine realist techniques to illustrate light and weather. There are different styles and periods, and subgenres of sea and animal paintings, as well as different Italian landscape styles. Most of the Dutch landscape is relatively small, but the scenery in the Flemish Baroque painting, which is usually still alive, is often very large, especially in a series of works told by Peter Paul Rubens for his own home. The print landscape is also popular, with people from Rembrandt and Hercules Seghers experimental works usually considered the best.
The Dutch tend to make smaller paintings for smaller homes. Some of the Dutch landscape specialties named in period inventory include Batalje , or battlefields; The Maneschijntje , or the moonlight scene; The Bosjes , or a forest scene; Boederijtje , or an agricultural scene, and Dorpje or a village scene. Though not mentioned at the time as a special genre, the popularity of Roman ruins inspired many Dutch landscape painters of that era to paint the ruins of their own territories, such as monasteries and churches that were destroyed after Beeldenstorm.
Jacob van Ruisdael is considered the most versatile colonial landscape painter from the Netherlands. The popularity of the landscape in the Netherlands is partly a reflection of the virtual disappearance of religious paintings in Calvinistic society, and the decline of religious paintings in the 18th and 19th centuries across Europe combined with Romanticism to provide a much larger landscape and more prestigious place in the art of the century -19 than they had expected.
In England, landscapes at first mostly had portrait backgrounds, usually showing a garden or plantation of a landowner, although most were painted in London by an artist who had never visited his show. The English tradition was founded by Anthony van Dyck and most other Flemish artists working in England, but in the 18th century the works of Claude Lorrain were collected and influenced not only by landscape paintings, but the English landscape garden of Brown and others.
In the 18th century, watercolors, mostly landscapes, became English specialties, with floating markets for professional work, and a large number of amateur painters, many following the popular system found in the books of Alexander Cozens and others. At the beginning of the nineteenth century, British artists with the highest modern reputation were mostly dedicated landscapes, showing various Romantic interpretations of the English landscape found in the works of John Constable, J.M.W. Turner and Samuel Palmer. But all of this has had difficulty establishing itself in the contemporary art market, which still prefers paintings and historical portraits.
In Europe, as John Ruskin said, and Sir Kenneth Clark asserts, landscape painting is the "nineteenth-century artistic creation" and "dominant art", with the result that in the next period people "tend to assume that appreciation of natural beauty and landscape painting is a normal and lasting part of our spiritual activity. "In Clark's analysis, the fundamental European ways to transform the complexity of the landscape into ideas are four fundamental approaches: the reception of descriptive symbols, curiosity about the facts of nature, the creation of fantasy to dispel deep-rooted fears in nature, and trust in the Golden Age of harmony and order, which may be taken.
The 18th century is also a very good age for topographic printing, which depicts a more inaccurate view of a real way in a way that is rarely painted by landscape paintings. Initially this was largely centered on buildings, but during this century, with the growth of the Romantic movement of pure landscapes becoming more common. Topographic prints, often meant to be framed and hung on walls, remain a very popular medium in the 20th century, but are often classified as a lower art form than the imagined landscape.
The landscaping in watercolors on paper becomes a different specialty, especially in Britain, where certain traditions of talented artists are merely, or almost entirely, painted landscaped watercolors flourish, as is the case in other countries. This is a very often real view, although sometimes the composition is tailored for artistic effect. The paintings are sold relatively cheaply, but much faster to produce. These professionals can supplement their income by training "amateur troops" who are also painting.
Leading artists include John Robert Cozens, Francis Towne, Thomas Girtin, Michael Angelo Rooker, William Pars, Thomas Hearne, and John Warwick Smith, all at the end of the 18th century, and Joseph Mallord William Turner, John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer in early 19.
the 19th and 20th centuries
The Romantic Movement intensified the interest that existed in landscape art, and the remote and wild landscape, which has been one of the recurring elements in landscape art before, has now become more prominent. The German Caspar David Friedrich has a distinctive style, influenced by his Danish training, in which different national styles, drawing on the example of the 17th century Dutch, have been developed. For this he added quasi-mystic Romanticism. The French painter was slower to develop landscape paintings, but from around 1830s Jean-Baptiste-Camille Corot and other painters at the Barbizon School formed the French landscape tradition that would be the most influential in Europe for a century, with the Impressionists and Post-Impressionists for the first time made landscape painting a major source of common style innovation in all kinds of paintings.
The nationalism of the new Provinces of the United States has been a factor in the popularity of the 17th century Dutch landscape painting and in the 19th century, when other countries sought to develop distinctive national schools of painting, the attempt to express the special nature of the landscape of the homeland became a tendency general. In Russia, as in America, the size of the gigantic painting itself is a nationalist statement.
In the United States, the Hudson River School, which stands out in the mid to late 19th century, is probably the most famous original development in landscape art. These painters created gigantic works that sought to capture the epic sphere of the landscape that inspired them. The work of Thomas Cole, founder of a publicly-recognized school, has much in common with the philosophical ideals of European landscape painting - a kind of secular belief in the spiritual benefits that can be derived from the contemplation of natural beauty. Some of the Hudson River School artists, such as Albert Bierstadt, create less entertaining works that place greater emphasis (with many Romantic magnifiers) on the raw, even frightening nature of nature. The best example of Canadian landscape art can be found in the works of the Group of Seven, which was prominent in the 1920s.
Meskipun tentu saja kurang dominan pada periode setelah Perang Dunia I, banyak seniman besar yang masih melukis lanskap dalam berbagai gaya yang dicontohkan oleh Charles E. Burchfield, Neil Welliver, Alex Katz, Milton Avery, Peter Doig, Andrew Wyeth, David Hockney dan Sidney Nolan.
Galeri
Tradisi Asia Timur
China
The landscape painting has been called "China's greatest contribution to the art of the world", and owes its special character to the Taoist (Taoist) tradition in Chinese culture. William Watson notes that "It has been said that the role of landscape art in Chinese painting is similar to the naked role in the west, as a theme that does not change in itself, but makes vehicles with unlimited nuances and feelings".
There is an increasingly sophisticated landscape background to depict subjects that show hunting, farming or animals from the Han dynasty and beyond, with surviving examples mostly in stone or clay reliefs from the tomb, which are considered to follow the prevailing styles in the paintings, without doubt again without capturing the full effect of the original painting. The exact status of copies of famous works by famous painters (many of which are recorded in the literature) before the 10th century is unclear. One example is the famous 8th century painting of the Empire collection, titled Emperor Ming Huang traveling in Shu. This shows the entourage rising through the winding mountains of a typical type of painting later, but in full color "produces an almost entirely Persian pattern", in what is clearly a popular and fashionable court style.
The decisive shift to the monochrome landscape style, almost without numbers, is attributed to Wang Wei (699-759), also famous as a poet; mostly just copies of his survival work. From the 10th century onwards, more and more original paintings survive, and the best works of the Song Dynasty (960-1279) The Southern School remains among the most highly respected in the unbroken tradition to date. Chinese worship appreciates the paintings of amateur scholars, often a poet, more than professionals, even though the situation is more complex than that. If they enter any number, they are very often such a person, or a wise man, contemplating the mountains. Famous works have collected a number of red "seal awards", and often poetry was added by later owners - Emperor Qianlong (1711-1799) was a prolific addition to his own poems, following the previous Emperor.
The shan shui tradition was never meant to represent the true location, even when named after them, as in the Eight Views convention. Different styles, produced by professional court artists workshops, painted the official landscape of Imperial tours and ceremonies, with major emphasis on the highly detailed scenes of the crowded cities and the grand ceremony from a high point of view. It is painted on rolls of very large length with bright colors (example below).
The Chinese sculpture also achieved a difficult feat in creating an effective landscape in three dimensions. There is a long tradition of appreciation of "seeing the rock" - the naturally formed rocks, usually limestone from the eroded riverbanks into fantastic shapes, transported to the yard and gardens of literati. Perhaps associated with this is the tradition of carving smaller jade stones or other semi-precious stones into mountain shapes, including small figures of monks or sages. Chinese gardens also developed a highly sophisticated aesthetic much earlier than in the West; karensansui or Japanese dry parks Zen Buddhism takes the park closer to becoming a sculpture, representing a very abstract landscape.
Gallery
Japanese
Japanese art initially adapted Chinese styles to reflect their interest in narrative themes in art, with scenes arranged in landscapes mixed with scenes that show the palace or city using the same high point of view, cutting the roof as needed. It appears in very long yamato-e scene scrolls depicting the Genji Story and other subjects, mostly from the 12th and 13th centuries. The concept of male-amateur painters has little resonance in feudal Japan, where the artists are generally professionals with strong ties to their masters and schools, rather than the classical artists of the past, from which Chinese painters tend to draw their inspiration. The paintings were originally fully colored, often so bright, and the landscape never mastered a figure that was often too big.
The scene illustrated on the right is from a roll that is in full size 37.8 cm - 802.0 cm, only for one of twelve scrolls depicting the life of a Buddhist monk; like their Western colleagues, monasteries, and temples assigned many such jobs, and this has a better chance of survival than the equivalent of a trial. Even more scarce is the landscape landscape by the folding screen bu and the hanging scroll, which seems to have similarities in court circles - The Tale of Genji has episodes in which court members produce the best paintings of their collections. for a competition. It's closer to the Chinese shan shui, but it's still fully colored.
Many of the purer landscape subjects survived from the fifteenth century onwards; some of the main artists are Buddhist Zen priests, and work in monochrome style with a greater emphasis on brushstrokes in Chinese style. Some schools adopt a less subtle style, with smaller views giving greater emphasis to the foreground. A type of image that has a lasting appeal for Japanese artists, and is subsequently called "Japanese style", is actually first found in China. It combines one or more large birds, animals or trees in the foreground, usually to one side in a horizontal composition, with a wider landscape on the outside, often just covering the background. Subsequent versions of this style are often shared with a landscape background altogether.
The ukiyo-e style that flourished from the 16th century onwards, first in painting and later in cheap and widely available colored woodblock prints, initially concentrated on the human figure, individually and in groups. But from ukiyo-e the 18th century landscape developed under Hokusai and Hiroshige became the most famous type of Japanese landscape art.
Maps Landscape painting
Technique
Most of the early landscapes are clearly imaginary, though from the outset the views of the cities are clearly meant to represent the real city, with varying degrees of accuracy. Various techniques were used to simulate the randomness of natural forms in the compositions created: Cennini Cennini's medieval suggestions for copying rough clumps of small rough stones were apparently followed by both Poussin and Thomas Gainsborough, while Degas copied the cloud shapes from a tangled handkerchief against the light. Alexander Cozens's system uses random blot inks to provide the basic shape of the created landscape, which will be artistically described.
Different background scenery on Lake Geneva to the top of Le MÃÆ'Â'le in the Miraculous Fishing House by Konrad Witz (1444) is often referred to as the first Western rural landscape to show a particular scene. The landscape study by DÃÆ'¼rer clearly represents the actual scene, which can be identified in many cases, and at least partially made on the spot; the pictures by Fra Bartolomeo also seem clear sketches of nature. Döer's finished work appears to be generally using the created landscape, although the vast spectacular bird scenery in its engravings Nemesis shows the real sights in the Alps, with additional elements. Some landscapists are known to have sketched drawings and watercolors from nature, but evidence for early oil painting done outside is limited. The Pre-Raphaelite Brotherhood made special efforts in this direction, but it was not until the introduction of ready mixed oil paint in tubes in the 1870s, followed by a portable "horse-box", that the painting and plein air became widely practiced.
A mountain curtain at the back of the landscape is standard in the vast Roman outlook and even deeper in the Chinese landscape. Relatively little space is given to the sky in the early work in one tradition; The Chinese often use fog or clouds between mountains, and sometimes also show clouds in the sky much earlier than Western artists, who initially used clouds as a support or cover for a divine or heavenly figure. Both painting panels and miniature in the manuscripts usually have patterned or golden "skies" or backgrounds above the horizon until about 1400, but paintings by Giotto and other Italian artists have long shown a plain blue sky. The only surviving altar of Melchior Broederlam, completed for Champmol in 1399, has a golden sky which is inhabited not only by God and angels, but also flying birds. The beach scene at Turin-Milan Hours has a clouded sky with carefully observed clouds. In wood chunks, large empty spaces can cause the paper to sag during printing, so DÃÆ'¼rer and other artists often include clouds or graffiti that represent birds to avoid this.
The Chinese tradition of monochrome has used ink on silk or paper from the beginning, with great emphasis on individual brushstrokes to determine ts'un or "wrinkles" on the side of the mountain, and other features of the landscape. Western watercolors are a more tonal medium, even with visible underdrawing.
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Source of the article : Wikipedia
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