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landscape painting

   Also found in: Dictionary/thesaurus, Wikipedia, Hutchinson 0.04 sec.
landscape painting, portrayal of scenes found in the natural world; these scenes are treated as the subject of the work of art rather than as an element in another kind of painting.

Early Landscapes

In the West, the concept of landscape grew very slowly. Nature was traditionally viewed as consisting of isolated objects long before it was appreciated as scene or environment. As a result landscape painting as an independent art was a late development in the West. Many scenes, from the Hellenistic pastoral paintings of antiquity to the religious works of the 16th cent. A.D., contained expansive landscape backgrounds, but they were usually subordinated within a narrative context.

The Renaissance and the Sixteenth Century

In Renaissance Italy the study of perspective perspective, in art, any method employed to represent three-dimensional space on a flat surface or in relief sculpture. Although many periods in art showed some progressive diminution of objects seen in depth, linear perspective, in the modern sense, was probably
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 gave rise to a careful rendering of scenery according to conventional formulas. Giorgione Giorgione (jōrjô`nā), c.1478–1510, Venetian painter, b.
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 and the Venetian painters excelled at pastoral vistas that recalled scenes from classical literature. Flemish works enhanced by meticulous landscape detail became popular in Italy and encouraged Patinir Patinir, Patenier, or Patiner, Joachim de
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 and others to cater to this taste. Altdorfer Altdorfer, Albrecht (äl`brĕkht ältdôr`fər), 1480–1538, German painter and engraver.
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, the Danube painter of the early 16th cent., created some of the first works devoted entirely to landscape.

During and after the Reformation the use of religious subject matter was restricted and numerous artists in the north became specialists in the landscape genre at which, when painting backgrounds of religious works, they had become proficient. These artists, among whom Pieter Bruegel Pieter Bruegel, the Elder, c.1525–1569, called Peasant Bruegel, studied in Antwerp with his future father-in-law, Pieter Coeck van Aelst, but was influenced primarily by Bosch . In 1551 he became a member of the Antwerp Guild. Bruegel visited Italy in the early 1550s.
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 the elder was most notable, were devoted to fantastic scenes painted according to established convention in tones of brown for the foreground, green for the middle ground, and blue for the background panorama. In Rome, Dutch artists, led by Coninxloo Coninxloo or Koninksloo, Gillis van
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, initiated the concept of the ideal landscape.

The Seventeenth and Eighteenth Centuries

Claude Lorrain Claude Lorrain (klōd lôrăN`), whose original name was
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 was supreme master of this genre. His serene pastoral works and the heroic compositions of Poussin Poussin, Gaspard (gäspär` p
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 contrasted with the concurrent Dutch tendency toward realism. The great 17th-century Dutch landscape masters from van Goyen Goyen, Jan Josephszoon van (yän yō`zəfsōn vän gō`yən), 1596–1656, Dutch landscape painter.
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 to Ruisdael Ruisdael or Ruysdael, Jacob van (both: yä`kōp vän rois`däl), c.
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, Hobbema Hobbema, Meindert (mīn`dərt hôb`əmä), 1638–1709, Dutch landscape painter.
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, and Rembrandt Rembrandt Harmenszoon van Rijn or Ryn (rĕm`brănt, Du.
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 transformed into paint what they saw in the Dutch countryside (see Dutch art Dutch art, the art of the region that is now the Netherlands. As a distinct national style, this art dates from about the turn of the 17th cent., when the country emerged as a political entity and developed a clearly independent culture.
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). The Rococo saw a revival of ideal pastoral scenes in the works of Watteau Watteau, Jean-Antoine (wätō`, Fr.
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 and Gainsborough Gainsborough, Thomas (gānz`bûr'ō), 1727–88, English portrait and landscape painter, b. Sudbury.
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. The 18th-century Englishman Thomas Girtin Girtin, Thomas (gûr`tən), 1775–1802, English draftsman and watercolorist.
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 was an important influence on future landscape painting.

The Nineteenth and Twentieth Centuries

England produced the major late 19th-century landscape masters: the visionary Turner Turner, Joseph Mallord William, 1775–1851, English landscape painter, b. London. Turner was the foremost English romantic painter and the most original of English landscape artists; in watercolor he is unsurpassed.
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 and the poetic Constable Constable, John, 1776–1837, English painter, b. Suffolk. Constable and Turner were the leading figures in English landscape painting of the 19th cent. Constable became famous for his landscapes of Suffolk, Hampstead, Salisbury, and Brighton.
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. Constable, who greatly influenced the French Romantics, also served as an important inspiration to the Barbizon school Barbizon school (bär'bĭzōN`, bär`bĭzŏn'), an informal school of French landscape painting that flourished c.
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 in France, whose members returned to the serene pastoral mood. In Germany, C. D. Friedrich Friedrich, Caspar David (käs`pär dä`fēt frē`drĭkh), 1774–1840, German romantic landscape painter.
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 sustained the poetic tradition of landscape, as did the luminists of the American Hudson River school Hudson River school, group of American landscape painters, working from 1825 to 1875. The 19th-century romantic movements of England, Germany, and France were introduced to the United States by such writers as Washington Irving and James Fenimore Cooper.
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. Turner's exploration of the atmospheric effects of light interested Monet Monet, Claude (klōd mônā`), 1840–1926, French landscape painter, b. Paris. Monet was a founder of impressionism .
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, whose plein-air plein-air (plān-âr`, Fr. plĕn-ĕr`) [Fr.
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 works, forming the basis of impressionism impressionism, in painting, late-19th-century French school that was generally characterized by the attempt to depict transitory visual impressions, often painted directly from nature, and by the use of pure, broken color to achieve brilliance and luminosity.
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, elevated landscape to the highest position in artists' esteem that it had yet held.

Landscape also became a principal source material of postimpressionism postimpressionism, term coined by Roger Fry to refer to the work of a number of French painters active at the end of the 19th cent. who, although they developed their varied styles quite independently, were united in their rejection of impressionism .
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. The exponents of surrealism surrealism (sərē`əlĭzəm)
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 revealed the fearful power of imaginary landscape. In addition, many of the 20th-century artists working in the abstract idiom have employed both landscape and still life as basic sources for their widely differing work.

Landscape Art in the East

In China landscape art reached extraordinary perfection as early as the 8th cent. It engaged the highest talents during the T'ang, Sung, and Ming dynasties (see Chinese art Chinese art, works of art produced in the vast geographical region of China. It the oldest art in the world and has its origins in remote antiquity. (For the history of Chinese civilization, see China .
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). The prominence accorded landscape in both Chinese and Japanese art Japanese art, works of art created in the islands that make up the nation of Japan.

Early Works



The earliest art of Japan, probably dating from the 3d and 2d millennia B.C.
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Bibliography

See K. Clark, Landscape into Art (1949, repr. 1961); Z. Szabo, Landscape Painting in Watercolor (1971); P. Monahan, Landscape Painting (1985); J. Arthur, Spirit of Place: Contemporary Landscape Painting and the American Tradition (1989); A. Wilton and T. Barringer, American Sublime: Landscape Painting in the United States, 1820–1880 (2002).


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