Landscape painting Research Papers - Academia.edu (original) (raw)

Rajasthani art has been an integral part of Indian miniature painting on which foreign art could never cast its shadow. This pure native form of art is based upon vibrant Indian poetic version and literature. It is an aesthetic portrayal more of notation rather than of realism. The prime themes of these paintings have been Baramasa, Ragamala series and legend of Radha-Krishna. The landscape delineation has been of prime importance along with the portrayal of hero and heroine. Baramasa (different seasons in twelfth months) is a delineation of diverse seasons chiefly based on landscape. The artist has aesthetically delineated sentiments of lovers by fusing them with natural beauty of every month. Similarly paintings based on Ragamala (garland of melodies) and other vernacular themes, landscape has converted a poetic environment into a dynamic one. Ragamala is a visual ocular denotation of Indian classical modes which were initially proffered by the poets and musicians in celestial and human form. This is their splendid discernment which inspired the artisans to delineate such beautiful motifs in their paintings with stunning landscapes. Besides this, landscape has exhibited the topographical rank. The vegetation of every place has its own distinctive qualities owing to different geographical situations. The artists have represented vegetation as per the ecological impact of area. This specific depiction of vegetation by the painter in these paintings is the forte of these paintings. It is only in Indian art where painting music and poetry have been proffered in such a composite and unmitigated way that it becomes a fabulous presentation of Indian painting.

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- Landscape painting, Hindustani Literature

The paper is published with a summary in English.

Studying Chinese landscape painting of the Southern Song period, I propose a semiotic paradigm to examine its artistic change from realist representation to self-expression. This conception is inspired by the Morrisian hypothesis about the pragmatical dimension of semiosis. In this light, I discuss the paradigm shift at two levels, the formal level of visuality and the conceptual level of ideology. Accordingly, I observe that the paradigm shift decisively redirected the course of the mainstream in Chinese landscape painting from being external sensitive to more internal sensitive, and thus a new paradigm has been set up in Southern Song. This is a study of the landscape painting of the Southern Song period (1127-1279) in Chinese art history. In this study I argue that the metaphysical Tao is both external and internal; it is embodied in nature and also in human heart and mind. Correspondingly, I observe that two cardinal semiotic paradigms, representation and self-expression, functioned in landscape painting when Chinese art history entered the period of Southern Song. The first paradigm defines the encoding of the Tao through representing the images of the external world of nature, which is found in the landscape painting of the Northern Song (960-1127), and the second defines the manifestation of the Tao through expressing the artist's personal sentiment and thoughts, which is found in the landscape painting of the Southern Song. This is to say that the Southern Song landscape painting demonstrates the paradigmatic turn in Chinese art history. The term " paradigm " is borrowed from linguistics; however, in the context of this article it is based on sign-relations, referring to the mode of art. The topic of this article, the paradigm shift from Northern Song to Southern Song is an ideological and stylistic change from the representational mode of the outgoing art to the self-expressional mode of the inward-turning art. Art historians in the West and China were aware of the change, and some of them tried to describe what the change was and explain why it happened, but failed to point out that this is a paradigm shift. Why did they fail? Scholars of today in the West tend to approach this issue from a political and economic perspective due to their postmodern-like point of view, whereas scholars in China tend to approach the same issue from a similar perspective due to their Marxist point of view. As a result, they both focus on the relationship between art and its socio-historical background, and missed an equally, or more crucial relationship.

- by Lian Duan
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- Semiotics, Art History, Chinese Art, Landscape painting

The mid-eighteenth century was a defining moment in the tradition of aesthetic reflection in the visual arts. The relationship between nature and art was influenced by aesthetic thought expounded by various philosophers. Landscape painting became the model for the appreciation of nature, which was encouraged by aesthetic theory, at a time when the urban inhabitants of England’s major cities were longing to be reconnected with nature. The canonical idea of art’s function as imitation of nature was questioned in the artistic developments of English landscape painting in the eighteenth and nineteenth centuries, and the emphasis on ‘imitation of nature’ was the subject of much debate.

Essay for Thomas Cartwright's painting exhibition titled '36 View of Table Mountain' (2014). I consider the influence of Hokusai's 36 views of Mount Fuji, particularly his incorporation of both Western and Chinese techniques of perspective. I draw comparison to the way Cezanne resolved his concerns of looking and painting Mount Saint Victoire. I end with a discussion of the perceptions of Table Mountain within the City of Cape Town today.

- by Natasha Norman
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- Paul Cezanne, Cape Town, Landscape painting, Hokusai
- by Stéphane Loire
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- Art History, Italian Baroque art, 17th Century Italian Art, Landscape painting

Around the middle of the sixteenth century, the depiction of landscape developed into a mass phenomenon in the Netherlands from which ultimately a whole genre was born. Where did this sudden enthusiasm come from? Which laws regulated the art market for which Bruegel and other artists of his times produced these landscape? This is a systematic investigation into landscape art.

- by Nils Büttner
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- Painting, History of Cartography, Landscape, Art Market
- by Lian Duan
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- Semiotics, Visual Semiotics, Roland Barthes, Landscape painting

Titian is acknowledged as the greatest of the sixteenth-century
Venetian painters, best known for his portraits,mythological
pictures and religious subjects. Yet his first great achievement as
a painter, schooled in the workshop of Giovanni Bellini, was to
refashion the portrayal of nature in his own distinctive style by
studying the work of Albrecht Dürer, whose naturalistic paintings
of plants, animals and landscape – for which northern European
artists were renowned – had caused a sensation in Venice in the
first decade of the sixteenth century.
In this beautifully illustrated book, AntonioMazzotta presents
this experience, together with Titian’s native landscape of Pieve
di Cadore, as crucial influences in the artist’s early representation
of nature. The recently restored Flight into Egypt (now in the
StateHermitageMuseum, St Petersburg) – probably painted
when Titian was still a teenager – is vivid proof of his interest in
the depiction of animals, plants and figures in the landscape.
The author’s carefully chosen comparisons of paintings, prints and
drawings by the young Titian, Dürer and their contemporaries
(including Sebastiano del Piombo and Giorgione) suggest that
Titian was as innovative and as influential in his unique view of
nature as he was in portraiture.

- by Antonio Mazzotta
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- Portraiture, Giovanni Bellini, Giorgione, Titian

Charting a course through Greek tragic thought, cybernetic logic, and the aesthetics of Chinese shanshui painting, Art and Cosmotechnics addresses the challenge to art and philosophy posed by contemporary technological transformation. How might a renewed understanding of the varieties of experience of art be possible in the face of discourses surrounding artificial intelligence and robotics? Departing from Hegel’s thesis on the end of art and Heidegger’s assertion of the end of philosophy, Art and Cosmotechnics travels an unfamiliar trajectory of thought to arrive at a new relation between art and technology.

- by Yuk Hui
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- Artificial Intelligence, Aesthetics, Epistemology, Philosophy of Technology
- by Denis Ribouillault
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- Art Theory, Painting, Seventeenth Century, Drawing

Resumo: Este artigo reúne algumas pontuações, conceitos e caminhos metodológicos sobre o papel da paisagem na cultura audiovisual, com o intuito de estabelecer um panorama dos modos de articulação dos espaços a partir de imagens, sobretudo das imagens cinematográficas, tentando dar conta das bases e desenvolvimentos do nosso grupo de pesquisa nos últimos anos. Partindo de discussões mais amplas (de caráter teórico e metodológico) para chegar a uma discussão mais pontual sobre espaço cênico e encenação e por fim a uma análise mais fechada sobre a melancolia espacial no filme "Inferninho" (2018). Palavras-Chave: Paisagem. Cinema. Melancolia. Espaço fílmico. Cinema brasileiro. Teorias da imagem. Abstract: This article concerns some notes, concepts and methodological paths on the role of landscape in áudio visual culture, in order to establish na overview of the ways in which spaces are articulated from images, especially cinematographic images, trying to account for the bases and developments of the our research group in recente years. Starting from broader discussions (of theoretical and methodological aspect) to arrive at a more ponctual discussion about scenic space and mise em scène and finally to a more closed analysis on the spatial melancholy of the staging in the film "Inferninho" (2018).

- by Angela Prysthon
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- Film Studies, Visual Culture, Cultural Landscapes, Landscape

Cloudscapes. Interpretations of a cloud motif in the landscape of 1820-1920. A motif of cloud in the landscape painting has been so far overlooked marginalized. In the rather limited research on the subject, dominated by meteorological studies and Hubert Damisch’s A Theory of /Cloud/: Toward a History of Painting, a thorough interpretation of the motif and its symbolism, especially in the painting of the turn of the 19th and 20th centuries, is missing. It is then when a cloud becomes an independent subject of landscape painting by many European painters, as well as popular in poetry and music. Applying a division into three methods: “naturalistic”, “romantic” and “symbolic”, analysis with interpretation of selected paintings from 1820-1920 was undertaken in this paper. The author introduces a Polish term for cloudscapes, namely: chmurobraz/chmuromalarstwo in order to define the subject of research.

- by Emiliana Konopka
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- Clouds, Symbolism (Art History), Landscape painting, Nordic Art

La letteratura artistica seicentesca ha posto i fondamenti teorici per la suddivisione in generi delle diverse categorie iconografiche di cui la pittura si compone. Questa classificazione da allora è entrata nell’uso comune e nel linguaggio dell’arte in modo talmente pervasivo da farla sembrare connaturata all’arte stessa; è implicitamente passato in secondo piano il fatto che, come ogni fenomeno culturale, anche i generi pittori ci hanno un loro momento d’inizio che ne condizionò la definizione e l’identità. Dove rintracciare, dunque, le origini di questo fenomeno?
Il tema, ricco e affascinante, costituisce il cuore di questo volume, frutto dello sforzo collettivo di un gruppo di studiosi che hanno condiviso e confrontato differenti metodologie e background di ricerca.
Gli otto casi studio, muovendosi tra Venezia, Roma, Colonia, Francoforte e Anversa, mettono a fuoco al- cune delle principali tematiche collegate allo sviluppo della pittura europea a cavallo tra ’500 e ’600: dalle pra- tiche di bottega e la specializzazione degli artisti, alla professionalizzazione mercantile dei pittori e alle loro connessioni con i mercanti, senza dimenticare alcune ben note tipologie pittoriche, dai cabinet paintings (o quadri da stanza) ai paesaggi affrescati, fino a una nuova ridefinizione visiva della pittura devozionale.

- by Carlo Corsato
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- Early Modern Europe, Genre Theory, Early Modern Italy, 16th Century Italian Art

Motyw chmur w malarstwie pejzażowym był dotąd pomijany lub marginalizowany. W dość okrojonych badaniach nad tematem, w których dominują opracowania meteorologiczne i Teoria /obłoku/ Huberta Damischa, brakuje jednak solidnej interpretacji motywu chmur i ich symboliki, szczególnie w malarstwie przełomu XIX i XX wieku. To właśnie w tym okresie bardzo często chmura/obłok staje się samodzielnym tematem pejzaży wielu malarzy europejskich, motyw jest równie popularny w poezji i muzyce. Stosując podział na trzy metody badawcze: „naturalistyczną”, „romantyczną” i „symboliczną”, podjęto tu analizę wybranych obrazów z lat 1820-1920 z zaproponowaniem interpretacji tego motywu. W pracy zastosowano również nowy termin „chmurobraz”/ „chmuromalarstwo” dla określenia przedmiotu badań.

- by Emiliana Konopka
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- Clouds, Symbolism (Art History), 19th C. Landscape Painting, Landscape painting

Cura editoriale: È vietata la riproduzione, anche parziale e con qualsiasi mezzo effettuata, non autorizzata. L'Editore si scusa per eventuali omissioni o imprecisioni nella citazione delle fonti ed è a disposizione degli aventi diritto. ISBN 9788899808266 6.5 Elisa Spataro, Il Cours de peinture di Roger de Piles. La teoria della pittura di paesaggio nel primo Settecento © 2021 -Fondazione 1563 per l'Arte e la Cultura della Compagnia di San Paolo Collana Alti Studi sull'Età e la Cultura del Barocco Bando 2018 -VI EDIZIONE La sesta edizione delle pubblicazioni digitali Alti Studi sull'Età e la Cultura del Barocco ha come tema Paesaggio e natura. I lavori di ricerca, esito del Bando 2018, di cui si pubblicano gli esiti in forma monografica, hanno saputo indagare con spirito fresco e originale piglio critico le linee di sviluppo individuate nel concorso. L'argomento proposto invitava, in allora, ad analizzare la variazione delle istanze culturali tra la fine del Seicento, il secolo dei grandi approdi scientifici, della formulazione di canoni teorici di rappresentazione del naturale e della dottrina dell'emendamento del dato di natura a fini migliorativi, e la metà del Settecento, che invece aveva visto la natura tornare a esigere spazio e autorevolezza con esiti molto diversi nei vari centri europei di produzione culturale, dove le nuove spinte variamente si innestavano, si compenetravano, si stemperavano o si liberavano rispetto alle sedimentazioni delle precedenti tradizioni.

Prima mostra monografica dedicata a Luigi Basiletti con alcuni dipinti e disegni inediti provenienti da collezioni private. Le vedute riprendono i luoghi attraversati dal pittore bresciano durante i suoi i viaggi in Lazio e in Campania, Nella sua non vasta produzione comprende tele ispirate alle colline e ai laghi delle Prealpi bresciane che, per la prima volta, assumono il valore di soggetto figurativo.

Tutti i diritti riservati. È vietata la riproduzione di testi e illustrazioni senza il permesso scritto dell'editore e delle autorità competenti. L'editore si impegna a corrispondere eventuali diritti di riproduzione per foto e disegni di... more

- by Emilie Beck Saiello
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- Landscape painting

The essay analyzes the drawings of the Lanciani Collection relating to the Campagna romana, mainly classified in volumes n. 24, 26, 30 and 36. Leaving aside vol. n. 24, which consists almost entirely of etchings from the Malerisch radierte Prospekte von Italien, nach der Natur und zu gezeichnet Rom radiert (1792-1798), and vol. n. 30, which contains cartographic materials, the contents of vols. n. 26 and n. 36 were examined in an effort to draw some conclusions about the criteria for selection and classification that was adopted by Lanciani, the collector and later refined by librarians and archivists of the Istituto di Archeologia e Storia dell’Arte: the result is that the collected works seem marked by a principle of “ad excludendum”, namely works do not have a marked connection to the more defined subject matters present in the collection or do not belong to a corpus dedicated to a single author. This has offered the opportunity for a more accurate reading of some of the works, from which has emerged some interesting rectifications in the identification of the places depicted, as well as some more precise attributions of artistic authorship - as in the case of a small group of drawings to be credited to Giovanni Battista Busiri (1698 - after 1764), and clarifications about the large set of lithographs signed by Hendrik Voogd (1768-1839), which makes the Lanciani Collection a point of reference in the study of the Dutch painter’s engraved works, comparable to the most well-known collection at the Rijksprentenkabinet in Amsterdam.

ABSTRACT: After Hegel’s famous philosophical dismissal of the sublime for its inadequacy, and in a postmodern age deprived of theological doctrines, there is increasing evidence for the relevance of Caspar David Friedrich’s romantic... more

- by Laure Cahen-Maurel
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- Philosophy, Aesthetics, Art History, Painting

Artists have been painting the landscape since ancient times. The Greeks and Romans created wall paintings of landscapes and Gardenscapes. After the fall of the Roman Empire, the tradition of representing pure landscapes was denied, and the landscape was seen only as a stage for religious scenes and figures. This tradition continued until the 16th century, when artists began to view the landscape as a theme in their own right. The artistic change seems to have corresponded to a growing interest in the natural world caused by the Renaissance.

- by Albert Serino
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- Landscape painting

N egli ultimi anni alcuni studiosi hanno, in diverse sedi, pubblicato articoli riguardanti la figura di Orazio Maffei (1580 -1609; )) e il suo Palazzo di Montecavallo 1 . In particolare, nel 1995 il giornalista dell'Ansa Umberto d'Arrò scrisse un interessante volume sul Palazzo della Dataria prendendo in esame le vicende della struttura architettonica e la storia della Dataria Apostolica 2 . Egli rivolse particolare attenzione alla ricerca di documenti che rinvenne principalmente nell'Archivio di Stato di Roma e nell'Archivio Segreto Vaticano.

- by Francesco Gatta
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- Italian Baroque art, Landscape painting, Paul Bril, Carracci School

Szakdolgozat, 2007, Eötvös Loránd Tudományegyetem, Művészettörténeti Intézet. Témavezető: Tímár Árpád. Az 1900 és 1914 között Hódmezővásárhelyen működő művészekről készült diplomamunka, képanyag nélkül. / M.A. thesis in Art History,... more

Szakdolgozat, 2007, Eötvös Loránd Tudományegyetem, Művészettörténeti Intézet. Témavezető: Tímár Árpád.
Az 1900 és 1914 között Hódmezővásárhelyen működő művészekről készült diplomamunka, képanyag nélkül. / M.A. thesis in Art History, Supervisor: Árpád Tímár

- by Károly Tóth
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- Art History, Landscape painting, Hungarian Art (19-20th century)

A Firenze la fortuna di Salvator Rosa pittore di paesaggi e di battaglie non suscitò pronte reazioni tra i colleghi artisti. Il consenso guadagnato dal napoletano presso i Medici e l'aristocrazia cittadina non trovò, infatti, analoga risposta nell'ambiente artistico della città, da sempre legato all'autorevole tradizione locale e alla pittura di storia. L'unica eco immediata dei paesaggi rosiani si limitò in principio alle opere di personaggi legati al pittore e vicini ai cenacoli da lui animati, in un'imitazione improvvisata e dilettantesca tesa a emulare più che le invenzioni pittoriche gli aspetti letterari e la condotta dell'artista. Per trovare una prima, autentica, reazione in pittura alle novità giunte col Rosa a Firenze e dunque un'applicazione al paesaggio e alla battaglia intesi come generi autonomi, si dovranno attendere il settimo e l'ottavo decennio del secolo e l'attività di artisti non fiorentini ma operanti nella città granducale, in particolare Livio Mehus e Pandolfo Reschi.

- by Novella Barbolani
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- Italian Baroque art, Landscape painting, Battle painting

This paper focuses on depictions of port cities and river harbours, integrated in the background landscapes of Early Netherlandish panel paintings. As compositional parts of larger landscape settings, these motifs were quite popular in the southern Low Countries and especially in Antwerp during the first decades of the sixteenth century. A thorough investigation into their precise nature and significance has hitherto been lacking. It is the aim of the present article to fill this gap and investigate to what extent the emergence and evolution of this specific kind of imagery can be linked to larger societal developments in the southern Low Countries and in the distinctive urban culture of Antwerp more specific.

- by Katrien Lichtert
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- Urban Culture, Landscape, Early Netherlandish Painting, Landscape painting
- by Gianpaolo Angelini
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- Art History, French Impressionism, Landscape painting, Ottocento

This study investigates the career of Carlo Antonio Procaccini, a member of one of the most prominent artistic families of the early Italian Seicento. Together with his brothers Camillo and Giulio Cesare, he was instrumental in establishing a famous workshop in Milan playing a fundamental role in the artistic renovation of the Borromean era: one of the most fascinating periods in Lombard history. Celebrated by seventeenth century sources, Carlo Antonio’s career has been largely underestimated. The essay re-affirms his legacy as the most important North Italian landscape painter of the first three decades of the seventeenth century, highlighting how his art thrived in the uniqueness of the Milanese artistic environment, characterised by prosperous economy, post-Tridentine reform, Spanish patrons, links with northern Europe and artistic eclecticism.

L'articolo ripercorre la fortuna critica del pittore anglo-napoletano Pietro Fabris nei secoli XIX e XX, analizzando l'evoluzione del giudizio critico degli storici dell'arte italiani in relazione all'avanzamento delle conoscenze sull'attività del pittore. Tale analisi è spunto per chiarire particolari significativi sulla vicenda biografica e artistica di Pietro Fabris e sulle sue relazioni con mecenati e collezionisti giunti a Napoli durante il Grand Tour.

This essay examines the role of geological time in the work of the German Romantic artist Caspar David Friedrich in the early nineteenth century. It foregrounds the challenges this model of time posed for the relationship between the human and the natural—a relationship usually considered central to Friedrich’s work—and for the perceptual powers of the viewing subject.

- by Stephanie O'Rourke
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- Art History, German Romanticism, Nineteenth-century Art, History of Geology

Resumen: La pintura Paisaje de las Indias Occidentales en el Rijksmuseum de Amsterdam, Países Bajos, se atribuye a Jan Mostaert de Haarlem (ca. 1475-1555/56). Tanto sobre el lugar como sobre el evento representado (un conflicto entre conquistadores españoles y un pueblo indígena que defiende una gran montaña) se han propuesto varias identificaciones. Después de un examen crítico de las hipótesis existentes este artículo continúa el camino indicado por Martínez de la Peña (1970) y Peter Mason (2015, 2017), quienes han identificado varios deta-lles de la pintura como propios de las Islas Canarias y de sus habitantes originales. Este artículo propone que la montaña de central importancia en la pintura corresponde al Roque Bentaiga de Gran Canaria, que el llamativo arco de piedra es la cercana formación rocosa llamada 'Ventana del Bentaiga' y que el monte nevado al fondo ha de ser el Teide, un volcán de la vecina isla de Tenerife, visible desde este área. La conclusión es que la pintura representa la batalla que tuvo lugar en este sitio en 1483 entre las tropas del conquistador español Pedro de Vera y los canarios que les opusieron feroz resistencia.

- by Victoria Souliman
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- French Impressionism, Landscape painting, Paul Cézanne

Research report for Bijl-Van Urk B.V.:
In 1752, the art dealer Gerard Hoet published a series of catalogues of paintings that were auctioned in The Netherlands. Volume one mentions a particular ‘natural Winter’ (‘Een natuurlyk Wintertje’) by Jacob Esselens that was sold in Amsterdam on 19 April 1735. The unknown buyer payed 5,15 guilders for the work, which was a decent price. In comparison, the same auction mentions a violin player by Jan Steen sold for 11,50 guilders and a still-life by Willem Kalf also for 11,50 guilders.

- by Menno Jonker
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- Painting, 17th Century Dutch Republic, 17th century Europe, Old Master drawings