Landscapes (Temporis Collection)
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Although considered a minor genre for a long time, the art of landscape has risen above its forebears - religious and historic painting - to become a genre of its own. Giorgione in Italy, the Brueghels of the Flemish School, Claude Lorrain and Poussain of the French School, the Dutch landscape painters and Turner and Constable of England are just a few of the great landscapists who have left their indelible mark on the history of landscape and the art of painting as a whole.
After serving for a long time as a backdrop for paintings and as a skill-practising exercise for artists, nature came to be observed for its own sake and was incorporated into works of art as an illustration of an enlightened and scientific study of the world. Through continual change, it has inspired the greatest painters and has allowed some others, like Turner, to transcend the relentless search for mere realism in pictorial representation. Through this study, Émile Michel offers an exceptional panorama, from the 15th century to the present, of art and the way artists portray the world in all its splendour.
boat fastened to the shore. The few well chosen details add to the pervading melancholy of the impression. One sees from this picture that Rembrandt’s study had borne fruit. From that time he dared to be simple, and, without having recourse to complex artifices, his inspirations are drawn from nature alone. His drawings and etchings prove this, and at no time in his life did he consult nature with more constancy and sincerity. Wherever he wandered, the aspect of his native land appealed to him.
harmony. This small canvas is scarcely covered and in places the ground can be seen, but such as it is it suffices for showing how little Francisco de Zurbarán, Saint Francis in Meditation, 1639. Oil on canvas, 162 x 137 cm. The National Gallery, London. TS Landscape 1C FREENG A-OK 2005 May Nov 2011.qxp 10.qxp 11/19/2010 4:27 5/20/2011 3:11PM PM Page Page125 125 Chapter 4: Landscape in the Spanish and French Schools 125 TS Landscape 1C FREENG A-OK 2005 May Nov 2011.qxp 10.qxp Landscape
cm. Musée du Louvre, Paris. His daily walks were not chosen in a haphazard way. He would go into the country to study the various details he intended to put into the work he was engaged on. Although he borrowed from nature in this way, it was rare that he copied exactly enough for one The Roman Campagna appealed to Poussin and harmonized with his tastes, so that he grew increasingly attached to it. The city itself had that sovereign charm in which so many artists have since revelled, and which
Museum, St. Petersburg. Claude Lorrain (Claude Gellée), Morning in the Harbour, late 1630s. Oil on canvas, 97.5 x 120.5 cm. The State Hermitage Museum, St. Petersburg. 150 The seaport is one of the subjects that Claude has so frequently treated with slight modifications. The sea, bounded on the left by a continuation of palaces, and with ships and boats on the right, dies away along the coast where there are a number of figures. People are strolling about and sailors and porters are to be seen.
119.4 x 90.2 cm. Royal Academy of Arts, London. TS Landscape FRE A-OK 05 Nov 10.qxp 11/16/2010 1:38 PM Page 175 175 TS Landscape 1C FREENG A-OK 2005 May Nov 2011.qxp 10.qxp 11/16/2010 4:33 5/20/2011 1:38PM PM Page Page176 176 Landscape Painting J.M.W. Turner, Sun Rising through Vapour, 1807. Oil on canvas, 134 x 179.5 cm. The National Gallery, London. 176 TS Landscape 1C FREENG A-OK 2005 May Nov 2011.qxp 10.qxp 11/16/2010 4:33 5/20/2011 1:38PM PM Page Page177 177 Chapter 5: