Lands painting ng sining

Ang pagpipinta sa landscape, ang paglalarawan ng natural na tanawin sa sining. Ang mga kuwadro na gawa sa landscape ay maaaring makuha ang mga bundok, lambak, katawan ng tubig, mga patlang, kagubatan, at baybayin at maaaring o hindi kasama ang mga gawaing gawa ng tao pati na rin ang mga tao. Bagaman ang mga kuwadro mula sa pinakaunang sinaunang at Klasikong panahon ay kasama ang mga likas na magagandang elemento, ang tanawin bilang isang independiyenteng genre ay hindi lumabas sa tradisyon ng Kanluranin hanggang sa Renaissance noong ika-16 na siglo. Sa tradisyon ng Silangan, ang genre ay maaaring masubaybayan pabalik sa ika-4 na siglo-ce China.

Ang sumusunod na artikulo ay tinatrato lamang ang tradisyon ng Kanluranin. Para sa karagdagang impormasyon tungkol sa iba pang mga tradisyon ng pagpipinta sa landscape, paghahanap ng bansa o rehiyon — halimbawa, pagpipinta ng Tsino, sining ng Hapon, sining ng Timog Asya: Visual arts.

Pagpinta ng landscape sa ika-16, ika-17, at ika-18 siglo

Kahit na ang pagpipinta ng landscape ay hindi pa rin isang genre sa sarili nitong karapatan at itinuturing na mababa sa mahigpit na hierarchy ng art academy ng paksa, ang mga background ng background ay naging mas detalyado sa mga komposisyon na lumitaw sa Venice sa huling bahagi ng ika-15 siglo. Ang mga tanawin ay kapansin-pansin sa mga gawa ni Giovanni Bellini (The Agony in the Garden, c. 1465; Saint Jerome Pagbasa sa isang Landscape, c. 1480–85) at, bahagyang kalaunan, sa mga iyon ni Giorgione (The Tempest, c. 1505; Adoration. ng mga Pastol, 1505/10). Noong kalagitnaan ng ika-16 na siglo, ang mga artista sa hilagang Europa — lalo na ang paaralan ng Danube, tulad nina Joachim Patinir at Albrecht Altdorfer - ay lumilikha ng mga kuwadro na, bagaman madalas na napuno ng mga figure sa bibliya, ay tunay na ipinagdiwang ang kagandahan ng kalikasan sa sarili nitong karapatan. Nang maglaon sa ika-16 siglo,Ang Flemish artist na si Pieter Bruegel ang Elder ay naging master painter pintor, dalubhasa sa makulay, lubos na detalyadong mga magagandang tanawin (Landscape with the Fall of Icarus, c. 1558; Hunters in the Snow, 1565; The Harvesters, 1565).

The 17th century ushered in the classical, or ideal, landscape, which set scenes in the mythic and idyllic Arcadia of ancient Greece. The leading practitioners of the classical landscape were the French-born Italy-based artists Nicolas Poussin and Claude Lorrain. With their idyllic scenes and classically ordered, harmonious compositions, Poussin and Claude attempted to elevate the reputation of the landscape genre in a variety of ways: by attaching metaphorical meaning to the natural elements of their paintings, by depicting mythological or biblical stories set in elaborate natural settings, and by emphasizing the heroic power of nature over humanity.

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The other prominent landscape tradition of the 17th century emerged from the Netherlands in the work of Dutch artists Jacob van Ruisdael, Aelbert Cuyp, and Meindert Hobbema. The sky, often ominously cloudy and filling half or more of the canvas, played a central role in setting the tone of a scene. The Dutch artists of that period infused the elements of their compositions with metaphorical meaning and made use of the visual impact of small figures in a vast landscape to express ideas on humanity and its relationship to almighty nature.

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The centre of landscape painting during the 18th-century Rococo period shifted from Italy and the Netherlands to England and France. French painters Antoine Watteau, Jean-Honoré Fragonard, and François Boucher developed lyrical and romantic outdoor scenes that, with precise detail and delicate colouring, glorified nature. Their lighthearted landscapes—called fêtes galantes—were decorative vignettes filled with beautifully dressed men and women enjoying outdoor amusements and leisure time. The English Rococo landscape tradition was led by Richard Wilson, who painted in Italy as well as in his native England. His best-known painting, Snowdon from Llyn Nantlle (c. 1765), which shows a group of three people fishing at a lake framed by mountains, exemplifies his serene style. Other English landscape painters of note include Thomas Girtin, John Robert Cozens, and Thomas Gainsborough (who was also well known for his portraiture).

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The Romantic landscape and the first half of the 19th century

Landscape artists of the 19th century embraced the wide-reaching Romantic movement and infused their compositions with passion and drama. It was in the 19th century that landscape painting finally emerged as a respectable genre within the art academies of Europe and gained a strong following in the United States as well. In England two of the foremost landscape painters were John Constable and J.M.W. Turner. Both artists worked on a grand scale to express the power of nature. They were both masters at capturing on canvas the atmospheric qualities of the weather. Constable, however, worked in a realist mode with a high level of precision in his landscapes of the English countryside, whereas Turner, particularly later in his career, produced wildly expressionistic and atmospheric seascapes that verged on abstraction.

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In Germany the Romantic landscape was epitomized in the work of Caspar David Friedrich, whose paintings were charged with emotional and religious symbolism and could be interpreted allegorically. Friedrich’s The Cross in the Mountains (c. 1808)—a painting of a crucifix illuminated by the sun’s rays at the summit of mountain—expresses a spiritual sentiment by way of the natural elements. French artists Jean-François Millet, Charles-François Daubigny, Théodore Rousseau, and others were part of the Barbizon school (1830s–70s), a group that painted in and around the Fontainebleau forest. The artists, though only loosely tied to one another, were united in their interest in capturing carefully observed nature. They eschewed the formal balanced compositions of their predecessors in preference for a truer, if less harmonious, depiction of their surroundings.

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In the United States the Hudson River school (1825–70) painters were centred in the Hudson River valley in New York. In paintings of the Catskill Mountains, the Hudson River, and the wilderness of New England and beyond, the artists captured dramatic effects of light and shade, the finest details of their subject matter, and celebrated the unique beauty of still-untouched areas of the American landscape. The group’s first members—Thomas Cole, Asher B. Durand, and Thomas Doughty—inspired numerous younger painters including Frederic Edwin Church, Fitz Henry Lane, Jasper Cropsey, Albert Bierstadt, and Martin Johnson Heade. The invention of the tin tube for paint (1841) and the invention of the portable collapsible easel (also in the mid-19th century) revolutionized the landscape genre by allowing artists to venture out of the studio and study and paint their subjects firsthand. Outdoor painting became the dominant practice of the Impressionist painters of the late 19th century.

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