picturesque landscapes
This first conference cycle "spacetime sensory" presents an overview of the chronological representation of landscape painting in the fifteenth century.
The picturesque adjective meaning "that strikes the attention with its beauty, its originality. Original living color. "The representation of landscape painting is meant as picturesque figuration space is by no means a story but the elevation of nature by painting its implementation. The landscape is not originally a separate genre, but is built in the background stories. Before delving into the concept of space in painting, this conference is a demonstration of a genealogy leading theme of the landscape to become a driving force of modern reforms of paint between the fourteenth and the twentieth century.
prime example of this conference, two panels of the predella by Andrea Mantegna dating from 1457 to 1459. The Renaissance artist develops in the first panel, The Garden of Olives , scenography where the eccentricity of the action leaves a big up to the observation of a landscape on the outskirts of Jerusalem. The unusual dimensions of these panels lower registers, measuring almost 90 cm to 60, provides sufficient area to develop all the details of a landscape. Mantegna, painter, scholar, claims in The Garden of Gethsemane that the picture is actually a "window on the world." This sentence shows in the work of the Florentine theorist Leon Battista Alberti was the turning point in the development and representation of the battlespace. Three quarters of the panel surface of Mantegna become the place of developing a three-dimensional landscape. For the sake of historical truth Mantegna is based on a text dating from 70 AD to represent Jerusalem. The city in the upper left panel is a topographic marker of the action cycle of the Passion of Christ. We find in all three panels thereby unifying the action in a single location. Jerusalem form the background of the representation of the Olive Garden and is connected to the opposite story, with a footprint path by the soldiers and Judas. Mantegna unifies his entire landscape with traffic. These shifts are narrative while Christ prays in the Garden, the advancing soldiers with Judas and his arrest is imminent. In the second panel, the resurrection, the same figure Mantegna temporality. The landscape is visually less detailed, the overall composition focuses on the figure of the resurrected Christ at the center, observing the path that leads from Jerusalem to the tomb we see two women walking their way to the foreground. When they reach the tomb will be empty. The spatial unit of the landscape in Mantegna is by traveling in connection with the story appeared. The "window onto the world" is like writing Alberti "A window on history." The landscape is a visual three-dimensional to the story.
As you progress through the timeline, the Flemish altarpiece representing the Virgin and Child with Saint John and Saint Mary Magdalene also presents a natural setting in the background. Each panel has a clean spatial inconsistency with that of others. The horizon lines are not uniform and the details are not figured. This individualizes the two side panels of the central panel. The campaign represented the two saints behind the side panels reflects Flemish campaign. Indeed, we can see a farm, a system of woods and fields, giving a more contemporary image of Earth. The historical landscape is less to make closer the saints. Flemish artists include a local landscape, humanized, transformed by man.
vernacular This aspect continues in the next century developments in the seventeenth-century Dutch landscape. The Landscape with ruins figures prominently action on the bottom of a contemporary landscape where the ancient ruins idealize the spatial representation. Even if the story is actually in the foreground contemporary artificiality buildings intellectualization.
More reforming the Navy dejan van Goyen depicts the upheaval of the landscape. The subject is anecdotal and has no historical value. Visually, the artist completely lowers the skyline. Whereas in the Flemish primitives, where else in the landscape with ruins, the horizon is above the vertical half of the table, here she finds herself in the bottom quarter. The landscape becomes a reflection of reality taken from the perspective of man. By becoming autonomous subject of the landscape becomes more human, to both in its action but also by his views. Devoid of any narrative interest, this theme becomes purely contemplative.
French painting of the eighteenth century was influenced by the development of the Dutch landscape. Thus the table entitled Houel Chanteloup near Paradise, made for the Duc de Choiseul in 1769, has characteristics similar to its spatial construction. The horizon line is below the horizontal median. The view seems to height. Spatial construction sits a geometric perspective garden in the foreground, but is deformed in response to the hanging end of the table. Indeed, the painter was commissioned to create "above door" so that space remains consistent on the viewer's perspective, it distorts his perspective so that it is correct by checking the dive-in cons . The view of the representation of landscape, is outside. The landscape remains an autonomous principle of pictorial composition.
This artificiality is reflected in the inconsistencies of the piece of bright reception landscape Rising Sun of Julliard. By studying the natural light coming from the angle upper left, we discovered that sunlight passing through trees and rocks. The idealization of landscape artists led the search for artificial visual effects for the picturesque composition. The representation of nature is by no means an accurate search. Since the ideal landscape of the seventeenth century, the painter's mission is to elevate his subject to a higher reality. The landscape is by no means a mapping of the territory. He is an intellectual and visual system.
Always for the eighteenth century, we can look at the table representatives Demachy a panoramic view of Tours in 1787. The artist represents the city taking the north bank of the Loire. Historical document must however be aware that the artist has never traveled to Tours, based on architectural drawings and descriptions, it will develop a fairly accurate representation of the city without it ever being confronted. All tables are made of the eighteenth century in the workshop. The composition remains an exercise indoors. Landscape painting remains strong compositional and ideal.
The sight of the cascades of Tivoli and the Temple of the Sybil Hue tells us on another conflict and another development of landscape painting. In the hierarchy of genres, landscape happens to be in the middle. It can not grow substantially over very large, reserved for history painting. Yet here we have a landscape of impressive dimensions in which man seems completely minus. Dominated by waterfalls, but also the temple, a philosopher is to be a small presence in the vast countryside. The landscape is nevertheless ideal, motivated by a ruin and an exceptional natural. The theatricality of the stage design is reflected in its effects.
switches between the eighteenth and nineteenth century, Valenciennes defines the historic landscape. The latter can not exist in its autonomy by its attachment to a historical fact. In a further liberalization of the representation of landscape, its value is historical. Tables view the forum in the evening and View the forum this morning reflect historic character and interest to ruin. The artist Buckwheat Belmont views this forum as rubble under a light morning or twilight. The proliferation of references to painters of the past such as Claude Lorrain, with the sun visible shows that the artist seeks to enroll in a genealogy artistic views of Italy. This is for her to demonstrate its commitment to the ideal landscape. The historical landscape is a winding valuing intellectual and artistic representation of space and highlighting the degree of artistic and intellectual knowledge. The representation of nature is therefore by no means an autonomous element.
The travel and travel for artists become a subject in itself. Rome or even the East are favorite subjects. The tables do not remain not least the compositions of workshops where issues pictorial prevail. Thus Oasis Belly represent as much the subject as impressions. Artist played on a wheelbase to give impressions of warmth and flotation. Decomposition pictorial dissolves the subject in a painting exercise. Modernity appropriates the artificiality of the representation of nature. Though still inspired by a concrete, the painter makes a work of obvious color and material. The painting becomes a visual experience before nature of painting. The observation is high to touch the spectator.
The landscape is a subject of absorption. The Impressionists will raise this issue as a symbol of modernity. The decomposition of the key claims about the performance of the artist and the quality of the material as sensitive interface. The painting by Claude Monet entitled An arm of the Seine near Vetheuil illustrates this principle. The choice of landscape and views are in no way hazardous. For the subject is beautiful and interesting it is to be plastically picturesque. The great revolution lies in the opportunity to paint outdoors and in the middle of the subject. But the selection is made for characters pictorial nature. In this table of the frontal canopy trees allows Monet to smooth about it. The key, symptom impressionist, is here treated differently depending on the subject, the Seine this key horizontal shafts of circular keys. The painting in its self seems transcribe the characters of each element. This is not the subject that induces the representation but the human qualities of representation that leads the subject. The two trees in the center of the bank formed a V with a reflection on the surface of the water gives a cross or an X. Thus, in a distant vision table retains a sense of depth. But when the viewer approaches, the key is revealed as the subject. Like a stage set, the Impressionist paintings are on two observation times. The first far seems to offer us a practical aspect. But when we approach they offer us the reality of matter. The painting becomes the only subject, the only material capable of transcribing the luminous impressions of a landscape. The opacity of the surface of the table trying to make visual impressions and experience of the gaze. The dissolution of the subjects is looking for an accurate visual phenomena in painting. Table of landscapes is an invitation a sensory experience.
To conclude this brief overview of the evolution of landscape painting in the collections of the Museum of Fine Arts, Olivier Debre and Table from 1976 Long teal crossings of the Loire to the task Green . Nature is the starting point of abstract painting by Olivier Debre. This lyrical painter seeks not the accuracy but the impressions left in the landscape. The experience of reality is not only by sight but by the entire body. The monumental size of the table formats Olivier Debre in relation to the Loire makes them almost panoramic. The color fields and become exposed a way to include the audience in the only reality of landscape painting: color. The disappearance of the subject does not seem abnormal.
From the outset the landscape appears an ideal element that is used in the composition of the painter. Abstract painting based on the sensory processing of the representation of nature to bring the viewer from the subject. Landscape painting even before its independence is a color space generating feelings of proximity. The artificiality has always been a quality of the landscape.
Between the fourteenth century and the twentieth century, landscape painting was built as container land closer to the observer of the subject. The development of a three-dimensional spatiality rests on the ability of the painter to feature on the landscape. The latter is built in a picturesque because logic of idealization and not mere naturalism. This brief history of the landscape-oriented theme of the conference cycle time sensory space, shows both the prosecution but also the commonalities that may exist between an artist of the fifteenth century and one of the twentieth. The painting is intended to record of concrete space and its representation. It is a sensitive area that the construction of the landscape makes it more accessible to the eye. The sharing of sensitive between the fifteenth and the twentieth century is reflected in the theme of landscape. Concrete images and always idealized landscape is picturesque in painting because it is always more beautiful, more colorful, original.
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