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links article talk english read edit view history tools tools move to sidebar hide actions read edit view history general what links here related changes upload file permanent link page information cite this page get shortened url switch to legacy parser print export download as pdf printable version in other projects wikimedia commons wikiquote wikidata item appearance move to sidebar hide from wikipedia the free encyclopedia depiction of landscapes in art for related subjects see land art landscape architecture and landscape photography joachim patinir 1480 1524 landscape with charon crossing the styx 1515 1524 patinir pioneered the world landscape style wivenhoe park john constable 1816 dong yuan 934 962 dongtian mountain hall chinese 洞天山堂圖 10th century the five dynasties chinese national palace museum taipei landscape with scene from the odyssey rome c 60 40 bce landscape painting also known as landscape art is the depiction in painting of natural scenery such as mountains valleys rivers trees and forests especially where the main subject is a wide view with its elements arranged into a coherent composition in other works landscape backgrounds for figures can still form an important part of the work sky is almost always included in the view and weather is often an element of the composition detailed landscapes as a distinct subject are not found in all artistic traditions and develop when there is already a sophisticated tradition of representing other subjects 1 two main traditions spring from western painting and chinese art going back well over a thousand years in both cases the recognition of a spiritual element in landscape art is present from its beginnings in east asian art drawing on daoism and other philosophical traditions but in the west only becomes explicit with romanticism landscape views in art may be entirely imaginary or copied from reality with varying degrees of accuracy if the primary purpose of a picture is to depict an actual specific place especially including buildings prominently it is called a topographical view 2 such views extremely common as prints in the west are often seen as inferior to fine art landscapes although the distinction is not always meaningful similar prejudices existed in chinese art where literati painting usually depicted imaginary views while professional artists painted real views 3 the word landscape entered the modern english language as landskip variously spelt an anglicization of the dutch landschap around the start of the 17th century purely as a term for works of art with its first use as a word for a painting in 1598 4 within a few decades it was used to describe vistas in poetry 5 and eventually as a term for real views however the cognate term landscaef or landskipe for a cleared patch of land had existed in old english though it is not recorded from middle english 6 history edit spring fresco minoan painting from akrotiri 1600 1500 bce zhan ziqian strolling about in spring a very early chinese landscape c 600 the earliest forms of art around the world depict little that could really be called landscape although ground lines and sometimes indications of mountains trees or other natural features are included the earliest pure landscapes with no human figures are frescos from minoan art of around 1500 bce 7 hunting scenes especially those set in the enclosed vista of the reed beds of the nile delta from ancient egypt can give a strong sense of place but the emphasis is on individual plant forms and human and animal figures rather than the overall landscape setting the frescos from the tomb of nebamun now in the british museum c 1350 bc are a famous example for a coherent depiction of a whole landscape some rough system of perspective or scaling for distance is needed and this seems from literary evidence to have first been developed in ancient greece in the hellenistic period although no large scale examples survive more ancient roman landscapes survive from the 1st century bce onwards especially frescos of landscapes decorating rooms that have been preserved at archaeological sites of pompeii herculaneum and elsewhere and mosaics 8 li cheng chinese 李成 pinyin lǐ chéng wade giles li ch eng 919 967 luxuriant forest among distant peaks detail 10th century china liaoning provincial museum hasegawa tōhaku pine trees screen 松林図 屏風 shōrin zu byōbu one of a pair of folding screens japan 1593 156 8 cm 356 cm 61 7 in 140 2 in the chinese ink painting tradition of shan shui mountain water or pure landscape in which the only sign of human life is usually a sage or a glimpse of his hut uses sophisticated landscape backgrounds to figure subjects and landscape art of this period retains a classic and much imitated status within the chinese tradition 9 both the roman and chinese traditions typically show grand panoramas of imaginary landscapes generally backed with a range of spectacular mountains in china often with waterfalls and in rome often including sea lakes or rivers these were frequently used as in the example illustrated to bridge the gap between a foreground scene with figures and a distant panoramic vista a persistent problem for landscape artists the chinese style generally showed only a distant view or used dead ground or mist to avoid that difficulty a major contrast between landscape painting in the west and east asia has been that while in the west until the 19th century it occupied a low position in the accepted hierarchy of genres in east asia the classic chinese mountain water ink painting was traditionally the most prestigious form of visual art aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist in the west this was history painting but in east asia it was the imaginary landscape where famous practitioners were at least in theory amateur literati including several emperors of both china and japan they were often also poets whose lines and images illustrated each other 10 however in the west history painting came to require an extensive landscape background where appropriate so the theory did not entirely work against the development of landscape painting for several centuries landscapes were regularly promoted to the status of history painting by the addition of small figures to make a narrative scene typically religious or mythological western tradition edit medieval edit in early western medieval art interest in landscape disappears almost entirely kept alive only in copies of late antique works such as the utrecht psalter the last reworking of this source in an early gothic version reduces the previously extensive landscapes to a few trees filling gaps in the composition with no sense of overall space 11 a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the hortus conclusus or those in millefleur tapestries the frescos of figures at work or play in front of a background of dense trees in the palace of the popes avignon are probably a unique survival of what was a common subject 12 several frescos of gardens have survived from roman houses like the villa of livia 13 hand g bas de page of the baptism of christ turin milan hours flanders c 1425 during the 14th century giotto di bondone and his followers began to acknowledge nature in their work increasingly introducing elements of the landscape as the background setting for the action of the figures in their paintings 14 early in the 15th 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 luxury illuminated manuscripts were very important in the early development of landscape especially series of the labours of the months such as those in the très riches heures du duc de berry which conventionally showed small genre figures in increasingly large landscape settings a particular advance is shown in the less well known turin milan hours now largely destroyed by fire whose developments were reflected in early netherlandish painting for the rest of the century the artist known as hand g probably one of the van eyck brothers was especially successful in reproducing effects of light and in a natural seeming progression from the foreground to the distant view 15 this was something other artists were to find difficult for a century or more often solving the problem by showing a landscape background from over the top of a parapet or window sill as if from a considerable height 16 renaissance edit pieter brueghel the elder the harvesters 1565 peace and agriculture in a pre romantic ideal landscape without sublime terrors landscape backgrounds for various types of painting became increasingly prominent and skillful during the 15th century the period around the end of the 15th century saw pure landscape drawings and watercolours from leonardo da vinci albrecht dürer fra bartolomeo and others but pure landscape subjects in painting and printmaking still small were first produced by albrecht altdorfer and others of the german danube school in the early 16th century 17 however the outsides of the wings of a triptych by gerard david dated to about 1510 15 are the earliest from the low countries and possibly in europe 18 at the same time joachim patinir in the netherlands developed the world landscape a style of panoramic landscape with small figures and using a high aerial viewpoint that remained influential for a century being used and perfected by pieter brueghel the elder the italian development of a thorough system of graphical perspective was now known all over europe which allowed large and complex views to be painted very effectively albrecht altdorfer c 1480 1538 danube landscape near regensburg c 1528 one of the earliest western pure landscapes from the danube school in southern germany landscapes were idealized mostly reflecting a pastoral ideal drawn from classical poetry which was first fully expressed by giorgione and the young titian and remained associated above all with hilly wooded italian landscape which was depicted by artists from northern europe who had never visited italy just as plain dwelling literati in china and japan painted vertiginous mountains though often young artists were encouraged to visit italy to experience italian light many northern european artists could make their living selling italianate landscapes without ever bothering to make the trip indeed certain styles were so popular that they became formulas that could be copied again and again 19 the publication in antwerp in 1559 and 1561 of two series of a total of 48 prints the small landscapes after drawings by an anonymous artist referred to as the master of the small landscapes signaled a shift away from the imaginary distant landscapes with religious content of the world landscape toward close up renderings at eye level of identifiable country estates and villages populated with figures engaged in daily activities by abandoning the panoramic viewpoint of the world landscape and focusing on the humble rural and even topographical the small landscapes set the stage for netherlandish landscape painting in the 17th century after the publication of the small landscapes landscape artists in the low countries either continued with the world landscape or followed the new mode presented by the small landscapes 20 17th and 18th centuries edit claude lorrain ascanius shooting the stag of sylvia 1682 the landscape as history painting jan van goyen dune landscape c 1630 1635 an example of the tonal style in dutch golden age painting rembrandt the three trees 1643 etching the popularity of exotic landscape scenes can be seen in the success of the painter frans post who spent the rest of his life painting brazilian landscapes after a trip there in 1636 1644 other painters who never crossed the alps could make money selling rhineland landscapes and still others for constructing fantasy scenes for a particular commission such as cornelis de man s view of smeerenburg in 1639 compositional formulae using elements like the repoussoir were evolved which remain influential in modern photography and painting notably by poussin 21 and claude lorrain both french artists living in 17th century rome and painting largely classical subject matter or biblical scenes set in the same landscapes unlike their dutch contemporaries italian and french landscape artists still most often wanted to keep their classification within the hierarchy of genres as history painting by including small figures to represent a scene from classical mythology or the bible salvator rosa gave picturesque excitement to his landscapes by showing wilder southern italian country often populated by banditi 22 dutch golden age painting of the 17th century saw the dramatic growth of landscape painting in which many artists specialized and the development of extremely subtle realist techniques for depicting light and weather there are different styles and periods and sub genres of marine and animal painting as well as a distinct style of italianate landscape most dutch landscapes were relatively small but landscapes in flemish baroque painting still usually peopled were often very large above all in the series of works that peter paul rubens painted for his own houses landscape prints were also popular with those of rembrandt and the experimental works of hercules seghers usually considered the finest the dutch tended to make smaller paintings for smaller houses some dutch landscape specialties named in period inventories include the batalje or battle scene 23 the maneschijntje 24 or moonlight scene the bosjes 25 or woodland scene the boederijtje or farm scene 26 and the dorpje or village scene 27 though not named at the time as a specific genre the popularity of roman ruins inspired many dutch landscape painters of the period to paint the ruins of their own region such as monasteries and churches ruined after the beeldenstorm 28 jacob van ruisdael is considered the most versatile of all dutch golden age landscape painters 29 the popularity of landscapes in the netherlands was in part a reflection of the virtual disappearance of religious painting in a calvinist society and the decline of religious painting in the 18th and 19th centuries all over europe combined with romanticism to give landscapes a much greater and more prestigious place in 19th century art than they had assumed before in england landscapes had initially been mostly backgrounds to portraits typically suggesting the parks or estates of a landowner though mostly painted in london by an artist who had never visited his sitter s rolling acres the english tradition was founded by anthony van dyck and other mostly flemish artists working in england but in the 18th century the works of claude lorrain were ...
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