landscape

Chinese painting is predominantly of landscapes, done in black pine-soot ink on fine paper or silk, occasionally with the addition of faint color washes. The most vigorous period for landscape painting spanned the years from the Song (960–1279) to the Ming (1368–1644) dynasty.

The early representation of landscape, indicated only crudely on bronzes, appears in more sophisticated fashion on embroidered textiles of the 4th–3rd centuries bce from south-central Chinese sites such as Mashan, near Jiangling in the state of Chu (modern Hubei province). There, as in the Han dynasty art that followed,…

Han landscape painting is well represented by the lacquer coffins of Lady Dai at Mawangdui, two of which are painted with scenes of mountains, clouds, and a variety of full-bodied human and animal figures. Two approaches are used: one, more architectonic, uses overlapping pyramidal patterns that…

…visually accurate and aesthetically compelling—a landscape painting can truly substitute for real nature, for, even though miniaturized, it can attract vital energy (qi) from the spirit-filled void (dao) just as its real, material counterpart does. This interplay between macrocosm and microcosm became a constant foundation of Chinese spiritual thought and…

…that drew on the famed landscape of the nearby Huang Mountains. The group of artists now known as the Anhui school (including Ding Yunpeng, Xiao Yuncong, Mei Qing, Zha Shibiao, and Dai Benxiao) mostly pursued an emotional extreme opposite from Gong Xian and Kuncan, a severe coolness based on the…

His landscapes—of which one dated 1124 is the most reliably ascribed—serve as a vital link between the earlier, and essentially Northern, variety of monumental landscape, and the more lyrical Southern style of the Ma-Xia school. Li perfected the brushstroke texture known as the “ax stroke,” which…

…known for his calligraphy and landscape painting. His calligraphic style rejected inaccessibly unusual or flamboyant approaches and was formed by patient and catholic study of the great Chinese calligraphers of the past. His theoretical writings in the Hua Shi and Haiyue Mingyan, which contain some of the most penetrating remarks…

…exponent of a decoratively coloured landscape style of the Tang dynasty and as the founder of the so-called Northern school of professional painters.

…a decisive impact on Chinese landscape painting. Artists used images of flowers, rivers, and trees, executed with sudden, deft strokes, to evoke an insight into the flux and emptiness of all reality. The Pure Land tradition was most influential among the population as a whole and was sometimes associated with…

…came with the growth of landscape painting in the 17th and 18th centuries. The landscape and figurative traditions developed together in the 19th century in an atmosphere that was increasingly concerned with “painterly” qualities of the interaction of light and color and the expressive qualities of paint handling (a technical…

…Heidelberg school of nationalist Australian landscape painters of the late 19th century; Margaret Preston, whose modernist work took inspiration from the colours and forms of Australia’s natural environments and Aboriginal culture; and Brett Whiteley, who painted more richly urban, erotically charged works. Obsession with landscape is the centre of Australian…

The development of 17th-century landscape painting, in which humans are frequently portrayed as minute figures in a vast natural setting, is indicative of this changing awareness of the human condition.

In landscapes and marine paintings the horizon tended to drop, and a continuous and coherent recession into depth was attained, particularly in the paintings of Esaias van de Velde, Jan van Goyen, Hercules Seghers, and Jan Porcellis. The same change is seen in still lifes by…

His landscape style was formed on Claude, Gaspard Dughet, and Cuyp; but the clear golden lighting of his Italian landscapes carries the conviction of an artist saturated with the Mediterranean tradition. A cooler clarity and classical simplicity pervade his northern landscapes; and, despite the uneven quality…

…to be Canadian locales and landscapes. In the mid-19th century Paul Kane, an immigrant from Ireland, traveled across Canada and painted numerous canvases depicting Canadian landscapes and the lives of Indigenous people, fur traders, and missionaries—all rendered in a contemporary European genre and style. During the same period, Cornelius Krieghoff,…

…one of the founders of landscape painting.

…the French classical school of landscape painting.

…school, large group of American landscape painters of several generations who worked between about 1825 and 1870. The name, applied retrospectively, refers to a similarity of intent rather than to a geographic location, though many of the older members of the group drew inspiration from the picturesque Catskill region north…

…the luminists are almost always landscapes or seascapes, particularly the latter, and are distinguished by a smooth, slick finish; cold, clear colours; and meticulously detailed objects, modeled by rays of light. In these paintings, the sky usually occupies about one-half of the composition, which is often in the format of…

…there developed the fully formed landscape style that remains the most popular achievement of modern painting. An exhibition held in the studio of the photographer Nadar (Gaspard-Félix Tournachon) in 1874 included Monet’s picture Impression: Sunrise, and it was this work that, by being disparaged as mere “impressionism,” gave a name…

The painting of landscapes, as the earthly setting of human activities, has its first modest beginnings in this period.

…could mean that he painted landscapes, later to become a favorite motif in the decoration of Roman houses. Some Alexandrian tombs of the 2nd century bce do indeed represent gardens and groves as seen through colonnades or windows in the wall of the tomb chamber. A late Hellenistic version of…

…greatest contribution, however, was to landscape painting: inspired by the heroic landscapes of Koch (e.g., Bernese Oberland [1816]), by the early Germans and by their own concept of truth to nature, they renounced the conventional Italianate solution and turned instead to the countryside around them and to memories of Germany…