Painting Space and the Landscape - Concept, HIistory and Aesthetic
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Transcript of Painting Space and the Landscape - Concept, HIistory and Aesthetic
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Glenn Hirsch, Instructor
Landscape Color
Aerial Perspective
The Energy of Trees
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landscape painting
the depiction of natural scenery in a wide view – with elements arranged into a coherent composition. Landscape views may be entirely imaginary or observed from reality.
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1400s-1500s European Renaissance
Landscape painting was established as a setting for human activity, often expressed in a religious or mythical subject.
New techniques: Perspective and effects of light to create the feeling of “space” and “distance.”
The idea that a painting is not a flat piece of paper but a “window” to see the world beyond.
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Rome, c. 60 BC Rogier van der Weyden 1450
Before the Renaissance After the Renaissance
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Rogier van der Weyden 1450 Leonardo da Vinci 1503
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1500s-1600s Dutch landscape painting
With the disappearance of religious painting in a Protestant society, Dutch artists painted a style of panoramic landscape with small figures using a high aerial viewpoint.
Then in the 1600s, painters like Rembrandt and Vermeer further developed subtle realist techniques for depicting light and weather.
The word "landscape" comes from the Dutch landschap @ 1600.
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Pieter Bruegel1565
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Rembrandt1630
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Aert van der Neer 1647
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1700s
With the rise of capitalism in Europe, artists like Thomas Gainsborough painted landscapes depicting the estates of landowners – with an emphasis on the landscape as a park or “utopia.”
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Thomas Gainsborough 1750
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1800s-1860s
Spirituality re-entered European landscape in the early 1800s with Romanticism in which Nature is a wild, untamed and mysterious force – providing a direct personal connection with the spirit (similar in many ways to the way people today find spiritual connection in backpacking).
A secular faith in the spiritual benefits to be gained from the contemplation of natural beauty.
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Caspar David Friedrich 1820
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Albert Bierstadt 1868
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1860-1900 Impressionism
These artists made landscape the main source of stylistic innovation in color and composition:
•direct observation•greater variety of color •simplification of shapes to create movement for the eye
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Camille Corot 1847Oil sketch en plein air
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Jules Bastien-Lepage 1872
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Berthe Morisot
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Monet
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Van Gogh
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1900-1980 – Modernism: Cubism, Expressionism, Surrealism and Abstract Expressionism
These artists abandoned realism and used Nature as an inspiration for an endless variety of shape as catalyst for the invention of new color combinations from the imagination.
Surrealists like Dali saw landscapes as ‘dreamscape.’
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Salvador Dali
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Wayne Thiebaud
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Richard Diebenkorn
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Eddie Fitzgerald
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Landscape
Color
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Emily Luthra
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Emily Luthra
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Jessica Riano
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Maeve Crogan
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Selden Gile
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Gerhard Richter Tom Bullard
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Landscape
Composition
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Cropping –
Shapes go off theedge of the page
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Winslow Homer
Staging –
Arranging the shapes to tell a story
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A low horizon emphasizes the freedom of the sky
Van Gogh
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“Big Sky”
(Emil Nolde, watercolor)
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Paul Cezanne, 1901
Abstracting –
Simplifying shape to create movement
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Landscape
Light
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the ‘true color’ of the house doesn’t exist independently of the light
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Claude Monet
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spiritual
Joseph Turner
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Alphonse Mucha
Night, myth and dream
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Twilight the boundary between consciousness and dreams
Caspar David Friedrich
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atmospheric
aerialperspective
as objects recede in a landscape space, they appear lighter, duller, cooler
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aerial perspective
– things far away look duller and lighter compared to the foreground
Watercolor by Winslow Homerphotograph
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Joseph Turner
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Gustave Guillaumet
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Aerial perspective is not a ‘rule’ it’s a ‘recipe’ to use or not to use
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Student work
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TREES
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To see trees you look up
Kevin Dame
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To see trees you look
down
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Trees thrust out of the ground
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Maeve Crogan
Trees have energy and gesture
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Josep Masriera
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Watercolor by Winslow Homer
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tree technique
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trees have figurative gesture
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Trees cast a shadow on the ground beneath them
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Leaves cluster in branches
Each branch has a top
and a bottom
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Sunlight also comes through the branches (lit from behind)
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you can illustrate the leaves with precise drawing carefully colored-in
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John Singer Sargent
Or you can suggest the leaves with improvised wet-in-wet blobs of color
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John Singer Sargent
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John Singer Sargent
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Impasto paintingusing a palette knife
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Smearing, like butter on toast
Flat, minimal and smooth
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Double-Loading and SMEARING 2 COLORS TOGETHER
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hard edged PATTERNS
Thin LINES
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Press and lift, use the TENSION of the blade
SCRATCHING and scraping
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Change the PRESSURE of your hand, create thick and thin in flowing motion
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Eddie Fitzgerald
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detail
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detail
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detail
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detail
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Next week: Architectural Space
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Daniel Rabier
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Daniel Rabier
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Andy Slaton