What is a rural landscape? Scenery. Genre in fine arts. An eternal source of inspiration
Fine art is a genre that is created to please the eye. Naturally, the painters first of all sought to depict what they themselves admired. This is how the landscape appeared - the beauty of nature, transferred to canvas with the help of brushes and paints.
Artists began depicting nature even before the onset. However, in those days such an image served as a background, or part of the picture. Considering that most of the works were tied to religious themes, the depiction of nature was rather sketchy.
Landscape originated in the works of Dutch painters. The nature of their country was very peculiar - swampy shores, overhanging skies, sparse vegetation. However, the Dutch were able to discern a unique flavor in this and convey it on canvas. The first landscapes were small and intended to decorate the walls of village houses.
In the process of the formation of painting, the landscape continued its development. Over time, artists came up with a lot of unusual techniques that helped to depict plants and landscapes in detail, convey unusual combinations of light and shadow, and achieve unusual color solutions.
Various types of landscape appeared. Among them, the most striking are urban and rural landscapes, architectural landscapes and “marina” - canvases that depicted the sea.
"Ocean" - I.K. Aivazovsky (view of the “marina” landscape)
Several trends have emerged landscape painting. - where nature was depicted with maximum accuracy and realism. - an attempt by artists to express their feelings through the depiction of natural beauties. Impressionism is “airy” painting, where nature and the word come to life.
Despite the fact that artists have learned to draw the world with maximum accuracy, the essence of the landscape was completely different. This genre is a reflection of the artist’s inner world, an attempt to express his vision of the world through images of nature painted on canvas. That is why the landscapes are so diverse.
A.K. Savrasov
There were many different schools of landscape painting. Among them, Russian landscape masters stand out brightly, whose works have become famous throughout the world. This is A.K. Savrasov, I.V. Levitan, A.I. Kuindzhi, V.D. Polenov and many others. At different times, these artists drew inspiration from the extraordinary beauty of Russian nature, and achieved perfection in depicting it on canvas.
A brief excursion into the history of the development of the landscape genre
Translated from french word"landscape" (paysage) means "nature". That's what they call it in fine arts a genre whose main task is to reproduce natural or human-modified nature.
In addition, the landscape is a concrete piece of art in painting or graphics, showing nature to the viewer. The “hero” of such a work is a natural or natural motif invented by the author.
"Seaport", 1st century, painting from Stabiae
Elements of landscape can already be found in rock paintings. In the Neolithic era, primitive craftsmen schematically depicted rivers or lakes, trees and boulders on the walls of caves. On the Tassilin-Ajer plateau in the Sahara, paintings with scenes of hunting and herd driving were discovered. Next to the figures of animals and humans, the ancient artist schematically drew a simple landscape, which does not make it possible to specify the location of the action. In the art of the Ancient East and Crete, the landscape motif is a fairly common detail in wall paintings. Thus, not far from the village of Beni Hassan in Middle Egypt, rock tombs of ancient Egyptian rulers who lived in the 21st-20th centuries BC were found. One of the many frescoes that covered the walls of the burial chambers depicts a wild cat hunting in dense thickets. Among the paintings in the halls of the famous Knossos Palace on the island of Crete, a painting was discovered that researchers called “Partridges in the Rocks.”
In the ancient Roman city of Stabia, destroyed, like Pompeii, during the eruption of Vesuvius, among other paintings found in one of the patrician houses, the fresco “Seaport” stands out, representing a real seascape.
Landscape appeared as an independent genre already in the 6th century in Chinese art. The paintings of medieval China very poetically convey the world around us. The spiritual and majestic nature in these works, executed mainly in ink on silk, appears as a vast universe that has no boundaries. The traditions of Chinese landscape painting had a great influence on Japanese art. Unfortunately, the scope of our publication does not allow us to talk in detail about the landscape painters of China and Japan - this is a topic for a separate book.
In Europe the landscape is like separate genre appeared much later than in China and Japan. During the Middle Ages, when only religious compositions had the right to exist, the landscape was interpreted by painters as an image of the characters’ habitat.
P. de Limburg. "The Month of March", 15th century, from the "Luxury Book of Hours of the Duke of Berry"
European miniaturists played a major role in the formation of landscape painting. In medieval France, at the courts of the Dukes of Burgundy and Berry in the 1410s, talented illustrators, the Limburg brothers, worked - the creators of charming miniatures for the Book of Hours of the Duke of Berry. These graceful and colorful drawings, telling about the seasons and the corresponding field work and entertainment, show the viewer natural landscapes, executed with a masterful transfer of perspective for that time.
A pronounced interest in landscape is noticeable in the painting of the Early Renaissance. And although artists are still very inept at conveying space, cluttering it with landscape elements that do not match each other in scale, many paintings testify to the painters’ desire to achieve a harmonious and holistic image of nature and man. This is the painting “Procession of the Magi” (first half of the 15th century, Metropolitan Museum of Art, New York) by the Italian master Stefano di Giovanni, nicknamed Sasetta.
A significant step forward in the development of landscape painting was made by the 15th-century Swiss artist Konrad Witz, who showed a specific area in his composition on a religious subject - the shore of Lake Geneva.
Landscape motifs began to play a more important role in the era High Renaissance. Many artists began to carefully study nature. Abandoning the usual construction of spatial plans in the form of scenes, a heap of details inconsistent in scale, they turned to scientific developments in the field of linear perspective. Now the landscape, presented as a whole picture, becomes the most important element artistic subjects. Thus, in altar compositions, which painters most often turned to, the landscape looks like a scene with human figures in the foreground.
Stefano di Giovanni. "Procession of the Magi", first half of the 15th century, Metropolitan Museum of Art, New York
Despite such obvious progress, until the 16th century, artists included landscape details in their works only as a background for a religious scene, genre composition or a portrait. The clearest example of this is famous portrait Mona Lisa (c. 1503, Louvre, Paris), painted by Leonardo da Vinci.
The great painter, with remarkable skill, conveyed on his canvas the inextricable connection between man and nature, showed harmony and beauty, which for many centuries have made the viewer freeze in admiration before the La Gioconda.
Behind the young woman’s back, the boundless expanses of the universe open up: mountain peaks, forests, rivers and seas. This majestic landscape confirms the idea that human personality as multifaceted and complex as the natural world. But people are unable to comprehend the numerous secrets of the world around them, and this seems to confirm mysterious smile on the lips of Gioconda.
Leonardo da Vinci. "La Gioconda", approx. 1503, Louvre, Paris
Gradually, landscape went beyond other artistic genres. This was facilitated by the development easel painting. In small-sized paintings by the Dutch master I. Patiner and German artist A. Altdorfer, the landscape begins to dominate the scenes shown in the foreground.
Many researchers consider Albrecht Altdorfer to be the founder of German landscape painting. Small human figures on his canvas “Forest Landscape with the Battle of St. George” (1510, Alte Pinakothek, Munich) are lost among the mighty tree trunks, the powerful crowns of which shield the ground from sunlight.
The later "Danube Landscape" (c. 1520-1525, Alte Pinakothek, Munich) and "Landscape with Werth Castle" (c. 1522-1530, Alte Pinakothek, Munich) indicate that now the image of nature is the main and probably , the only task artist.
A. Altdorfer. "Danube Landscape", ca. 1520-1525, Alte Pinakothek, Munich
The masters of the Venetian school played a major role in the creation of the landscape genre. The first artist to give the landscape great value, became Giorgione, who worked in early XVI centuries. Nature is the main character of his painting "The Thunderstorm" (c. 1506-1507, Galleria dell'Accademia, Venice). The landscape on this canvas is no longer so much the environment in which a person lives, but rather a carrier of feelings and moods. "The Thunderstorm" invites the viewer to immerse themselves in the natural world and listen carefully to its voices. The emotional principle comes to the fore in the picture, calling for contemplation and penetration into the poetic world created by the master. The color of the picture makes a huge impression: deep, muted colors of greenery and earth, leaden-blue shades of sky and water and golden-pink tones of city buildings.
In other paintings by Giorgione, the landscape plays an equally important role. The idea of the unity of man and nature is reflected in such works of the master as “The Three Philosophers” (1507-1508, Kunsthistorisches Museum, Vienna) and “Sleeping Venus” (1508, Art Gallery, Dresden). In the last composition, the sleeping young woman seems to personify the delightful Italian nature, permeated with the hot southern sun.
Giorgione. "Thunderstorm", approx. 1506-1507, Galleria dell'Accademia, Venice
Giorgione had a significant influence on Titian, who later headed the Venetian school. Titian played a major role in the formation of all genres of European landscape painting. Famous artist I didn’t ignore the landscape either. Many of his canvases depict majestic images of nature. The shady groves are delightful, in which powerful trees shield the traveler from the scorching rays of the sun. Among the thick grass, figures of shepherds, domestic animals and wild animals are visible. Trees and plants, people and animals are children of a single world of nature, beautiful and majestic. Already in Titian’s early painting “The Flight into Egypt” (Hermitage, St. Petersburg), the image of nature in the background overshadows the sad scene of the flight of the Holy Family into Egypt.
Titian. "Flight into Egypt", Hermitage, St. Petersburg
The traditions of the Venetian school are reflected in painting Spanish artist El Greco. Greek by birth (real name Domenikos Theotokopoulos), he left his homeland, Cyprus, and went to Venice, and then settled in Spain. Among the most famous paintings master - landscape "View of Toledo" (1610-1614, Metropolitan Museum of Art, New York). El Greco very emotionally and vividly conveys nature at the time of a thunderstorm. Leaden clouds rush across the sky, illuminated by flashes of lightning. The frozen silver-gray city with houses, towers, churches seems like a fairy-tale vision in the mysterious phosphorescent light. The intense drama that permeates the canvas helps the artist convey to the viewer his idea of the confrontation between earthly and heavenly forces.
El Greco. "View of Toledo", 1610-1614, Metropolitan Museum of Art, New York
IN Northern Europe in the 16th century, landscape also gained a strong position in painting.
Images of nature occupy important place in creativity Dutch artist Pieter Bruegel the Elder. In paintings dedicated to the seasons, the master soulfully and poetically showed the harsh northern landscapes. All of Bruegel's landscapes are animated by figures of people engaged in everyday activities. They mow grass, reap rye, drive herds, and hunt. The calm and leisurely rhythm of human life is also the life of nature. With his work, Bruegel seems to be trying to prove: the sky, rivers, lakes and seas, trees and plants, animals and people - all these are particles of the universe, one and eternal.
Pieter Bruegel the Elder, Dark Day, 1565, Kunsthistorisches Museum, Vienna
In the 17th century, many national schools appeared, new genres and their varieties were formed. This time was very successful for the further development of the landscape genre.
Bruegel's traditions in the field of landscape painting were picked up by representatives Dutch school.
The Dutch bourgeois revolution (1566-1609) revived cultural life country and contributed to creative progress. The 17th century saw an extraordinary flowering Dutch painting and all its genres, the most common of which is landscape.
Dutch landscape painters were able to capture on their canvases a comprehensive picture of the world in all its manifestations. Works by such artists as H. Averkamp, E. van der Poel, J. Porcellis, S. de Vlieger, A.G. Cape, S. van Ruisdael and J. van Ruisdael, convey a person’s pride in his land, admiration for the beauty of the sea, native fields, forests and canals. Feeling sincere and boundless love to the surrounding world is felt in all the works of Dutch landscape painters.
Hendrik Averkamp_Winter Landscape, Pinacoteca Ambrosiana, Milan
Canals with sailing boats, flat landscapes, mills, dense forests, snow-covered villages, city streets with stone houses and squares - all these signs tell the viewer that this is a real Dutch landscape.
Full of lyrical feeling and poetic charm, the paintings depict the world around us at different times of the year and at different times of the day. But still, most of these landscapes convey nature in moments of calm, when low clouds slowly float over the ground, shrouded in a humid, foggy atmosphere, and the sun's rays, breaking through the clouds, easily fall on the water of canals, tree branches, and roofs of buildings.
Most Dutch landscapes are characterized by a muted color, consisting of light silver, olive-ocher, brownish shades, close to the natural colors of nature. Placed on the canvas with the help of thin, jewel-precise strokes, these colors convincingly and realistically convey the materiality of the surrounding world.
Jan van Goyen, the founder of realistic landscape in Dutch painting, as well as another Dutch landscape painter, Philips Koninck, showed heather dunes, banks and river pools, trees, windmills, swamps, canals, and sea expanses with great accuracy.
Jan van Goyen, Fishermen
With subtle lyricism, he conveys roads with trees along the sides and alleys in the forest. wonderful artist Meindert Hobbema. main feature landscapes of another Dutch master, Albert Cuyp - combining landscape with animalistic genre. His paintings delight the viewer with their rich and sonorous colors.
J. Wermeer of Delft. "Street", before 1660, Rijksmuseum, Amsterdam
The famous Dutch genre painter, Jan Wermeer of Delft, also showed interest in depicting nature. There are only two landscapes in his extensive creative heritage, but even in them he was able to show his greatest skill. The wonderful city, washed by rain and illuminated by the timid rays of the sun, is presented on the colorful canvas “View of Delft” (before 1660, Mauritshuis, Amsterdam). A quiet corner of the city is depicted in the landscape "Street" (before 1660, Rijksmuseum, Amsterdam). Using a simple motif, Vermeer managed to give his landscape, executed in a range of brick-red shades, deep content and significance. It is amazing how skillfully the artist managed to combine in his paintings the thoroughness in depicting all the details with a masterly rendering of the light-air atmosphere.
In the 17th century, one of the varieties of the landscape genre, the marina, became widespread in Holland. In the country of sailors and fishermen, the seascape was a huge success. Among the best marine painters are W. van de Velde, S. de Vlieger, J. Porcellis, J. van Ruisdael. The latter became famous not only for its sea views, but also for its paintings depicting plains, mills along river banks, and villages among the dunes.
Jacob van Ruisdael - “The Mill at Wijk” (c.1670).
In 17th-century Holland, cosmopolitan landscapes were very popular, the authors of which specialized in creating imaginary landscapes in the Italian style. But it was not they, but the canvases with motifs of modest Dutch nature that made Dutch painting such a significant phenomenon of world culture.
The realistic art of Spain, Italy and France also played a role in the development of landscape painting. In the work of Diego Velazquez there are landscapes that reflect the subtle observation of the great Spanish master ("View of the Villa Medici", 1650-1651, Prado, Madrid). Velazquez masterfully conveys the freshness of greenery, warm shades of light sliding along the leaves of trees and high stone walls.
Velazquez's paintings testify to the birth of plein air painting: leaving the workshops, the artists went to work in the open air in order to better study nature.
D. Velasquez. "View of the Villa Medici", 1650-1651, Prado, Madrid
In the 17th century, the principles of creating an ideal landscape emerged in the art of classicism. Classicists interpreted nature as a world subject to the laws of reason.
French painter Nicolas Poussin, who worked in Italy, became the creator of the heroic landscape. Poussin's paintings, showing the grandeur of the universe, are populated by mythological characters, heroes who cultivate sublime feelings in the viewer. The artist, who believed that the main goal of art is the education of man, considered the order and rational structure of the world to be the main value. He wrote works with a balanced composition, clearly built spatial plans, and distributed colors according to strict rules. Poussin did not make the audience a participant in his paintings. Spectators looking at his landscapes had to be content with the role of contemplatives, enjoying the images and improving their minds.
N. Poussin. "Landscape with Polyphemus", Hermitage, St. Petersburg
Within the framework of classicism, Claude Lorrain developed the concept of an idyllic landscape. His paintings are imbued with the spirit of ideal harmony. The artist so skillfully builds plans - monuments of antiquity, ancient ruins, trees with dense crowns, that there is enough space left on the canvas to convey the wide expanses of sea, land and airy distances. And if in Poussin's paintings mythological heroes are located in the center of the composition, then in Lorrain’s works they are only staff figures.
Nature appears differently in the paintings of Baroque masters. Unlike the classicists, they strive to convey the dynamics of the surrounding world, the turbulent life of the elements. Thus, the landscapes of the Fleming Peter Paul Rubens convey the power and beauty of the earth, affirm the joy of being, instilling a sense of optimism in the audience. All of the above can be attributed to his “Landscape with a Rainbow” (Hermitage, St. Petersburg), in which the master captured expanses stretching beyond the horizon, high hills and majestic trees, a valley with sprawling villages, shepherdesses and shepherds, herds of cows and sheep. The magnificent landscape is crowned with a rainbow, sparkling with delicate colorful shades.
P.P. Rubens. "Landscape with a Rainbow", Hermitage, St. Petersburg
P.P. Rubens. Landscape with Sten Castle. Circa 1635, National Gallery, London
Emotionally expressive landscapes that reflected Baroque traditions were created by the Italian master of the early 17th century, Alessandro Magnasco. There is nothing idyllic in his paintings. Full of anxiety, they show the complexity of the world order. On the canvas “Seashore” the viewer sees a chaotic accumulation of details. Stormy sea waves beat against the shore, on which the artist placed many human figures. These are gypsies, robbers, peasants, hermits, traders.
It's hard to understand what these people are doing. The romantic landscape is equally mysterious: the agitated sea, trees with curved trunks, gloomy fortresses with towers and high gray cliffs on the horizon.
In the 18th century, the veduta, a type of landscape genre that emerged in Venetian painting, became widespread. It originates from the urban, or architectural, landscape, elements of which appeared in the art of the Middle Ages. Remarkable masters of vedata were Francesco Guardi, Antonio Canaletto, Bernardo Bellotto.
In the 18th century, landscape painting received further development in the art of France. Antoine Watteau, who was called the “painter of gallant holidays,” painted dreamy scenes against the backdrop of wonderful parks. His landscapes, painted with delicate and reverent colors, are very emotional, they convey various shades of mood ("Pilgrimage to the Island of Cythera", 1717, Louvre, Paris).
Antoine Watteau, Pilgrimage to the Island of Cythera, 1717, Louvre
A prominent representative of Rococo art was the French artist Francois Boucher, who created landscapes full of sensual charm.
Francois Boucher, Bridge
As if woven from blue, pink, silver shades, they seem to be delightful magical dreams (“Landscape in the vicinity of Beauvais”, Hermitage, St. Petersburg). Boucher studied with another French artist who worked in the Rococo style, Jean Honore Fragonard, whose colorful landscapes, permeated with air and light, convey the freshness of the air, the warmth of the sun's rays, the tremulous movement of foliage on the trees ("Gardens of the Villa d'Este", Wallace Collection , London).
Fragonard, Grand Cascade at Tivoli, 1760, Louvre
A new attitude towards nature appeared in art in the second half of the 18th century. In the landscape painting of the Enlightenment, not a trace remained of the former idyllic convention of rocaille art. The artists sought to show the viewer natural nature, elevated to an aesthetic ideal. Many painters who worked during this period turned to antiquity, seeing in it a prototype of individual freedom. Majestic ruins Ancient Rome recreate paintings by Hubert Robert. Like other landscape painters of his time, Robert combined reality and fiction in his compositions.
Claude Joseph Vernet's sea storms and ports, based on field observations, with their bright lighting effects aroused the delight of his contemporaries. Vernet's painting influenced representatives of the romantic movement that appeared in European and American art in the first half of the 19th century. The brightest representatives romantic landscape in England there were Joseph Mallord William Turner and John Constable, in Germany - Caspar David Friedrich.
Joseph Mallord William Turner, The Rising of Carthage, 1815, National Gallery, London
John Constable, Hay Wagon. 1821, National Gallery, London
The beauty of simple rural nature was discovered by French landscape painters - representatives of the Barbizon school: Theodore Rousseau, Jules Dupre and others.
Theodore Rousseau, The Little Fisherman, 1849
Close to the art of the Barbizonians is the painting of Camille Corot, who sought to convey the quivering air environment with the help of valers. Camille Corot was considered their predecessor by the French impressionists. The plein air landscapes of Claude Monet, Camille Pissarro, and Alfred Sisley reflect the artists’ deep interest in the changing light-air environment. The works of the Impressionists show not only rural nature, but also the living and dynamic world of the modern city.
Claude Monet, White water lilies, 1899, Pushkin Museum im. A.S. Pushkin, Moscow
Apfred Sisley, Path on the shore in the evening near Sauyur in Normandy, 1894, Rouen. Museum of Fine Arts
Post-impressionist artists used modified traditions of the impressionists in their painting. From the perspective monumental art Paul Cezanne represents the majestic beauty and power of nature. Full of gloom tragic feeling landscapes by Vincent van Gogh. The sun's glare on the surface of the water, the trembling sea air and the freshness of the greenery are conveyed by the canvases of Georges Seurat and Paul Signac, made in the divisionist technique.
In the 20th century landscape genre representatives of various artistic directions. Bright, intensely sonorous pictures of nature were created by the Fauvists: Henri Matisse, Andre Derain, Albert Marquet, Maurice Vlaminck, Raoul Dufy and others.
R. Delaunay. "Eiffel Tower", 1926-1928, Solomon Guggenheim Museum, New York
The Cubists (Pablo Picasso, Georges Braque, Robert Delaunay, etc.) created their landscapes using dissected geometric forms. The landscape genre was of interest to surrealist artists (Salvador Dali) and abstractionists (Wassily Kandinsky, Helen Frankenthaler), who painted decorative compositions in which the main thing was the impression of direct improvisation in conveying images of nature.
Salvador Dali, The Persistence of Memory, 1931
V. Kandinsky. "Murnau - mountain landscape with church", 1910, Lenbach House Museum, Munich
Representatives of realistic movements (Rockwell Kent, George Wesley Bellows, Renato Guttuso) also remained recognized masters of landscape painting in the 20th century.
Landscape occupies a special place in Russian painting. For the first time, landscape motifs, depicted schematically, appeared in ancient Russian icon painting. The figures of Christ, the Mother of God, saints and angels on ancient icons were depicted against the backdrop of a conventional landscape, where low hills indicated rocky terrain, rare trees, the species of which could not be determined, symbolized the forest, and buildings, devoid of illusory volumes, represented temples and chambers.
The first landscapes that appeared in Russia in the 18th century were topographical views of magnificent palaces and parks. During the time of Elizaveta Petrovna, an atlas of engravings with views of St. Petersburg and its environs was published, based on the drawings of M. I. Makhaev. But only with the appearance of the works of Semyon Fedorovich Shchedrin can we say that landscape as a separate genre was formed in Russian painting.
Semyon Fedorovich Shchedrin, View of the Gatchina Palace from Silver Lake. 1798. Gouache
Shchedrin’s contemporaries, M.M., made their contribution to the development of the landscape. Ivanov and F.Ya. Alekseev. Alekseev’s painting influenced young artists - M.N. Vorobyova, S.F. Galaktionova, A.E. Martynov, who dedicated their art to St. Petersburg: its palaces, embankments, canals, parks.
M.N. Vorobyov, Seaside view in Italy, 1840
M.N. Vorobyov trained a whole galaxy of wonderful landscape painters. These included brothers G.G. and N.G. Chernetsov, K.I. Rabus et al. A number of wonderful lithographic watercolor landscapes with views of the surrounding areas of St. Petersburg was completed by A.P. Bryullov, brother of the famous K.P. Bryullov, who later became an architect.
Alexander Pavlovich Bryullov, View of the Castel Sant'Angelo in Rome. 1823-1826
But the works of these masters fade next to the paintings of Sylvester Feodosievich Shchedrin, who captured on his canvases bright beauty Italian nature.
By the middle of the 19th century, certain principles of aesthetic perception of nature and methods of displaying it had formed in Russian landscape painting.
From Vorobyov’s school come the romantic traditions adopted by his students. Among them is M.I., who died early. Lebedev, L.F. Lagorio and I.K. Aivazovsky, whose main theme of art was the sea.
I.K. Aivazovsky, Brig Mercury, after defeating two Turkish ships, meets with the Russian squadron
A special place in Russian painting is occupied by the work of A.K. Savrasov, who became the founder of the national lyrical landscape. Savrasov influenced his student and friend, landscape painter L.L. Kameneva.
In parallel with the lyrical direction in Russian landscape painting, the epic landscape developed, a prominent representative of which was M.K. Klodt, who strove to create a landscape painting that would present the viewer with a holistic image of Russia.
M.K. Klodt. "On the arable land", 1872, Tretyakov Gallery, Moscow
In the second half of the 19th century, a serious contribution to the development of Russian landscape was made by such famous artists, as I.I. Shishkin, F.A. Vasiliev, A. Kuindzhi, A.P. Bogolyubov, I.I. Levitan.
Shishkin, In the wild north, 1891
Shishkin, Forest wilderness, 1872
Kuindzhi, Elbrus, 1908
Levitan, At the pool, 1892
The traditions of Levitan's lyrical landscape were picked up by those who worked on turn of XIX-XX centuries by painters I.S. Ostroukhov, S.I. Svetoslavsky, N.N. Dubovsky.
Landscape painting of the 20th century is associated with the names of I.E. Grabar, A.A. Rylova, K.F. Yuona. P.V. created their landscapes in the spirit of symbolist art. Kuznetsov, N.P. Krymov, M.S. Saryan, V.E. Borisov-Musatov.
A.A. Rylov, Sunset, 1917
In the 1920s, the industrial landscape began to develop (interest in this type of landscape genre is especially noticeable in the works of M.S. Saryan and K.F. Bogaevsky).
K.F. Bogaevsky, Dneprostroy, 1930
Expressive and impressive images of native nature were also created by landscape painters G.G. Nissky, S.V. Gerasimov, N.M. Romadin et al.
N.M. Romadin, Winter landscape, 1961
This is where I will probably end this short excursion, which can be continued endlessly. Its purpose was to briefly highlight the main directions of the landscape genre, I hope that to some extent I succeeded.
Materials used in preparing the message
http://artclassic.edu.ru/catalog.asp?ob_no=13142&cat_ob_no=13079 ,
http://www.fondart.ru/history_painting/istorija_pejjzazha/ ,
http://www.artgorizont.com/articles.php?id_article=1188 ,
http://www.newclassics.ru/reviews/346/ and some others.
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Scenery. Its types and characters
Landscape (derived from the French paysage - country, area) is a genre of fine art in which the main subject of the image is nature.
Types of landscape: Depending on the main character of nature within the landscape genre, the following types of landscape are distinguished: Architectural and industrial landscapes. Rural and urban landscape. Sea and river landscapes.
Rural landscape - reflects the poetry of rural life, its natural connection with the surrounding nature.
Cityscape - depicts a human-organized spatial environment– buildings, streets, avenues, squares, embankments, parks.
The architectural landscape is close to the city landscape, but here the artist pays more attention to the depiction of architectural monuments in synthesis with the environment.
Industrial landscape - shows the role and importance of man - the creator, builder of plants, factories, power plants, train stations and bridges.
Seascape - Marina (from Latin marinus - sea) - one of the types of landscape, the object of which is the sea. Marina talks about the beauty of the sometimes calm and sometimes stormy sea.
Diversity of landscape in character. There are five types of landscape character: - heroic - historical - epic - romantic landscape - mood landscape
A heroic landscape is a landscape in which nature appears majestic and inaccessible to humans. It depicts high rocky mountains, mighty trees, calm waters, and against this background - mythical heroes and gods.
Historical landscape. Historical events are embodied in the landscape genre, which are reminiscent of the depicted architectural and sculptural monuments associated with these events.
Epic landscape - majestic paintings nature, full of inner strength, special significance and dispassionate calm.
Romantic landscape - Storm clouds, swirling clouds, gloomy sunsets, wild wind. The landscape sometimes captures a rebellious beginning, disagreement with the existing order of things, the desire to rise above the ordinary, to change it.
Landscape of mood It reflects feelings of melancholy, sadness or quiet joy. The desire to find in various states of nature a correspondence with human experiences and moods gave the landscape a lyrical coloring.
Practical work: Draw in one of the types or characters of the landscape.
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(from the French paysage - country, locality) - a genre of fine art in which the main subject of the image is nature.
Landscape appeared as an independent genre already in the 6th century in Chinese art. The traditions of Chinese landscape painting had a great influence on Japanese art.
In Europe, landscape as a separate genre appeared much later than in China and Japan. During the Middle Ages, when only religious compositions had the right to exist, the landscape was interpreted by painters as an image of the characters’ habitat.
Gradually, landscape went beyond other artistic genres. This was facilitated by the development of easel painting. The masters of the Venetian school played a major role in the creation of the landscape genre at the beginning of the 16th century.
In Russian art, landscape as a genre of painting appeared at the end of the 18th century. Semyon Shchedrin (1745-1804) is considered to be the founder of Russian landscape.
The rise of landscape painting was marked by the development of the plein air landscape, associated with the invention in the 19th century of the method of producing tube paints.
| - a landscape in which the artist pays main attention to the depiction of architectural monuments in synthesis with the environment Architectural landscape became widespread in the 18th century. |
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Veduta- a genre of Venetian painting of the 18th century, in which the city landscape is depicted in the form of a panorama, respecting scale and proportions. |
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| - a landscape in which the grandeur of the universe is shown, nature appears majestic and inaccessible to humans. Spectators looking at the heroic landscape must be content with the role of contemplatives, enjoying the image and improving their minds. The French painter Nicolas Poussin is the founder of the heroic landscape. |
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It first emerged in the works of such Haarlem masters as Van Goyen, De Moleyn and Van Ruisdael. |
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A type of landscape in which the main subject of the image is, and. Mountain landscape paintings |
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A type of landscape in which the main subject of the image is city streets and buildings. Cityscape paintings |
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| - an idealized landscape that tells the story of the perfection, harmony and completeness of life of ordinary people, their direct connections with nature. The idyllic landscape is characterized by grazing herds, cool streams, trees with dense crowns, meadows, birds, ancient ruins, etc. Claude Lorrain is the founder of the idyllic landscape. |
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Industrial landscape- a Soviet variety of the landscape genre, which depicts the romance of the restoration of the national economy and the construction of large industrial facilities. Konstantin Bogaevsky is considered to be one of the founders of the industrial landscape movement. |
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Interior(derived from the French intérieur - internal) - a type of landscape painting in which the subject of the image is an image of the interior of the room. Paintings interior |
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A landscape that depicts historical events using architectural and sculptural monuments associated with those events. |
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Capriccio(derived from Italian capriccio, literally - whim, whim) - architectural fantasy landscape. |
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Image of outer space, stars and planets. Paintings of space landscape |
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Cosmopolitan landscape- a landscape in which the artist depicted an imaginary landscape in the Italian style. Cosmopolitan landscapes were extremely popular in Holland in the 17th century. |
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A type of landscape in which the main subject of the image is the image of a forest. Forest landscape paintings |
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In a lyrical landscape, the depicted nature is inspired by the invisible presence of man. Alexey Savrasov is the founder of lyrical landscape in Russian painting. |
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Marina (derived from French marine, Italian marina, from Latin marinus - sea) is a type of landscape in which the main subject of the image is the sea, coastlines and rocks, scenes of a sea battle or other events taking place at sea. |
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A type of landscape in which the main subject of the image is gardens, parks, squares, alleys and other places for people to relax. Park landscape paintings |
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| - landscape painted on outdoors(plein air). | |
| a landscape that captures the rebellious beginning, disagreement with the existing order of things, the desire to rise above the ordinary, to change it. Thunderclouds, swirling clouds, gloomy sunsets, violent winds are the motives of a romantic landscape. The brightest representatives of the romantic landscape in England were Joseph Mallord William Turner and John Constable, and in Germany Caspar David Friedrich. |
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A type of landscape that depicts the poetry of rural life, its natural connection with the surrounding nature. Rural landscape paintings |
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| almost monochrome landscape. Jan van Goyen, Salomon van Ruisdael and Pieter de Moleyn are representatives of the tonal landscape that appeared in the late twenties of the 17th century. |
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| Exterior- a type of landscape painting in which the subject of the image is an image of the appearance of the room. | |
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An epic landscape is characterized by majestic scenes of nature, full of inner strength and dispassionate calm. A prominent representative of the epic landscape was M.K. Klodt, who strove to create a landscape-picture that would present the viewer with a holistic image of Russia. |
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The theme of landscape as a genre of fine art is terrain. The word “landscape” is translated from French as “terrain, country.” After all, landscape is not only the image of nature that is familiar to us. The landscape can also be urban (architectural, for example). In the urban landscape, a documentary-accurate image is distinguished - “veduta”.
And if we talk about the natural landscape, then there is a separate seascape, which is called “marina” (accordingly, artists depicting the sea are called “marinists”), and cosmic (image of celestial space, stars and planets).
But landscapes also differ in terms of time: modern, historical, futuristic landscapes.
However, in art, no matter what the landscape is (real or fictional), it is always an artistic image. In this regard, it is important to understand that for everyone artistic style(classicism, baroque, romanticism, realism, modernism) are characterized by their own philosophy and aesthetics of landscape images.
Of course, the landscape genre developed gradually, just as science developed. It would seem, what do landscapes and science have in common? A lot in common! To create a realistic landscape, you must have knowledge of linear and aerial perspective, proportionality, composition, light and shade, etc.
Therefore, the landscape genre is considered a relatively young genre in painting. For a long time, landscape was only an “auxiliary” means: nature was depicted as a background in portraits, icons, and genre scenes. Often it was not real, but idealized and generalized.
And although the landscape began to develop in ancient Eastern art, it received independent significance in Western European art starting around the 14th century.
And it would be very interesting to figure out why this happened. After all, by this time man had already been able to quite correctly depict abstract ideas, his appearance, his way of life, animals in graphic symbols, but he remained indifferent to nature for a long time. And only now is he trying to understand nature and its essence, because... In order to depict, one must understand.
Development of landscape in European painting
Interest in landscape becomes clearly noticeable, starting with the painting of the Early Renaissance.
Italian artist and architect Giotto(c. 1267-1337) developed a completely new approach to depicting space. And although in his paintings the landscape was also only an auxiliary means, it already carried an independent semantic load; Giotto turned the flat, two-dimensional space of the icon into three-dimensional, creating the illusion of depth using chiaroscuro.
Giotto "Flight into Egypt" (Church of San Francesco in Assisi)
The painting conveys the idyllic spring mood of the landscape.
Landscape began to play an even more important role during the High Renaissance (16th century). It was during this period that the search began for the possibilities of composition, perspective and other components of painting to convey the surrounding world.
Masters played a major role in the creation of the landscape genre of this period Venetian school: Giorgione (1476/7-1510), Titian (1473-1576), El Greco (1541-1614).
El Greco "View of Toledo" (1596-1600). Metropolitan Museum of Art (New York)
The Spanish city of Toledo is depicted under a gloomy stormy sky. The contrast between heaven and earth is obvious. The view of the city is given from below, the horizon line is raised high, and phantasmagoric light is used.
In creativity Pieter Bruegel (the Elder) the landscape is already gaining breadth, freedom and sincerity. He writes simply, but in this simplicity one can see the nobility of a soul that knows how to see beauty in nature. He knows how to convey both the petty world under his feet and the vastness of fields, mountains, and skies. He has no dead, empty places - everything lives and breathes with him.
We bring to your attention two paintings by P. Bruegel from the cycle “The Seasons”.
P. Bruegel (the Elder) “Return of the Herd” (1565). Kunsthistorisches Museum (Vienna)
P. Bruegel (The Elder) “Hunters in the Snow” (1565). Kunsthistorisches Museum (Vienna)
In the paintings of a Spanish artist D. Velazquez we can already see the birth of plein air ( plein air- from fr. en plein air – “in the open air”) painting. His work “View of the Villa Medici” conveys the freshness of greenery, warm shades of light sliding along the leaves of trees and high stone walls.
D. Velazquez “View of the garden of the Villa Medici in Rome” (1630)
Rubens(1577-1640), life-affirming, dynamic, characteristic of the work of this artist.
P. Rubens “Landscape with a Rainbow”
From a French artist Francois Boucher(1703-1770) landscapes seem to be woven from blue, pink, and silver shades.
F. Boucher “Landscape with a water mill” (1755). National Gallery (London)
Impressionist artists sought to develop methods and techniques that made it possible to most naturally and vividly capture the real world in its mobility and variability, and to convey their fleeting impressions.
Auguste Renoir "The Paddling Pool". Metropolitan Museum of Art (New York)
Post-Impressionist artists developed the traditions of the Impressionists in their painting.
Vincent Wag Gogh " Starlight Night"(1889)
In the 20th century Representatives of a wide variety of artistic movements turned to the landscape genre: fauvists, cubists, surrealists, abstractionists, realists.
Here is an example of a landscape by an American artist Helen (Helen) Frankenthaler(1928-2011), who worked in the style of abstract art.
Helen Frankenthaler "Mountains and Sea" (1952)
Some types of landscape
Architectural landscape
N.V. Gogol called architecture “the chronicle of the world”, because she, in his opinion, “speaks even when both songs and legends are already silent...”. Nowhere is the character and style of the time manifested so figuratively and clearly as in architecture. Apparently, this is why the masters of painting captured the architectural landscape on their canvases.
F. Ya. Alekseev “View of the Exchange and the Admiralty from the Peter and Paul Fortress” (1810)
The painting shows the Arrow Vasilyevsky Island. The compositional center of its architectural ensemble is the Exchange building. In front of the Exchange there is a semicircular square with a granite embankment. On its two sides there are columns that served as beacons. At the foot of the columns there are stone sculptures symbolizing the Russian rivers: the Volga, Dnieper, Neva and Volkhov. On the opposite bank of the river you can see the Winter Palace and the Admiralty buildings, Senate Square. Construction of the Exchange, designed by Thomas de Thomon, lasted from 1804 to 1810. When Pushkin arrived in St. Petersburg in 1811, the Exchange had already become the architectural center of the Spit of Vasilyevsky Island and the busiest place in the port city.
A type of architectural landscape is the veduta. As a matter of fact, this landscape by F. Alekseev is the vedova.
Veduta
Veduta - genre European painting, especially popular in Venice in the 18th century. It is a painting, drawing or engraving of a detailed depiction of an everyday city landscape. So, the Dutch artist Jan Vermeer depicted exactly his native city of Delft.
Jan Vermeer "View of Delft" (1660)
Veduta masters worked in many European countries, including Russia (M. I. Makhaev and F. Ya. Alekseev). Whole line leading with Russian views performed by Giacomo Quarenghi.
Marina
Marina is a genre of painting, a type of landscape (from the Latin marinus - sea), depicting a sea view or a scene of a naval battle, as well as other events taking place at sea. As independent type landscape painting Marina stood out in early XVII V. in Holland.
Marine painter (French mariniste) is an artist who paints marine life. The most prominent representatives of this genre are the Englishmen William Turner and Russian (Armenian) artist Ivan Constantinovich Aivazovski, who painted about 6,000 paintings on a marine theme.
W. Turner “The last voyage of the ship “Brave””
I. Aivazovsky “Rainbow”
A rainbow that appears in a stormy sea gives hope for the rescue of people from a shipwrecked ship.
Historical landscape
Everything about it is quite simple: to show the past through the historical setting, natural and architectural environment. Here we can remember the pictures N.K. Roerich, images of Moscow in the 17th century. A.M. Vasnetsova, Russian Baroque of the 18th century. HER. Lanceray, A.N. Benoit, archaic K.F. Bogaevsky and etc.
N. Roerich “Overseas Guests” (1901)
This is a painting from the series “The Beginning of Rus'. Slavs". In the article “On the Way from the Varangians to the Greeks” (1899), Roerich described an imaginary poetic picture: “The midnight guests are sailing. The gently sloping shore of the Gulf of Finland stretches like a light stripe. The water seemed to be saturated with the blue of the clear spring sky; the wind ripples across it, driving away matte-purple stripes and circles. A flock of seagulls landed on the waves, carelessly swayed on them, and only under the very keel of the front boat flashed their wings - they were alarmed peaceful life something unfamiliar, unprecedented. A new stream makes its way through the stagnant water, it runs into the centuries-old Slavic life, it will pass through forests and swamps, it will roll over a wide field, it will raise the Slavic families - they will see rare, unfamiliar guests, they will marvel at their strictly martial, at their overseas custom. The rooks are coming in a long row! Bright coloring burns in the Sun. The bow sides turned up dashingly, ending in a high, slender nose.”
K. Bogaevsky “Consular Tower in Sudak” (1903). Feodosiyskaya Art Gallery named after I.K. Aivazovsky
Futuristic (fantastic) landscape
Paintings Belgian artist Jonas De Ro are epic canvases of new, unexplored worlds. The main object of Jonas's images are extensive pictures of the post-apocalyptic world, futuristic, fantastic images.
In addition to the future of absolutely real cities, Jonas also draws completely original illustrations of an abandoned city.
J. De Roe “Abandoned Civilization”
Philosophy of landscape
What is it?
At the center of landscape painting is always the question of man's relationship to the environment - be it a city or nature. But the environment also has its own relation to man. And these relationships can be harmonious and inharmonious.
Consider the landscape “Evening Bells”.
I. Levitan “Evening Bells” (1892). State Tretyakov Gallery (Moscow)
The painting “Evening Bells” depicts a monastery at a bend in the river, illuminated by the evening sun’s rays. The monastery is surrounded by an autumn forest, clouds float across the sky - and all this is reflected in the mirror surface of a calmly flowing river. The bright joy of nature and peace of mind life and feelings of people. I want to look at this picture and look at it, it calms the soul. This is blissful, idyllic beauty.
And here is another landscape by the same artist - “Above eternal peace».
I. Levitan “Above Eternal Peace” (1894). State Tretyakov Gallery (Moscow)
Levitan himself wrote about this picture: “... I am all in it, with all my psyche, with all my content...”. In another letter: “Eternity, a terrible eternity, in which generations have drowned and will drown again... What horror, what fear!” It is this menacing eternity that Levitan’s painting makes us think about. The water and sky in the picture captivate and amaze a person, awakening the thought of the insignificance and transience of life. On a steep, high bank there is a lonely wooden church, next to it is a cemetery with rickety crosses and abandoned graves. The wind shakes the trees, drives the clouds, drags the viewer into the endless northern expanse. The gloomy grandeur of nature is opposed only by a tiny light in the window of the church.
The artist may have wanted to answer with his painting the question about the relationship between man and nature, about the meaning of life, contrasting the eternal and powerful forces of nature with weak and short-term human life. This is sublime tragedy.
