One of the most common themes or subject matters in art, landscapes instantly capture attention for their ability to transport a viewer to another time and place. From tranquil scenes to dramatic vistas, landscapes have long captured the imagination of both artists and art collectors, often becoming timeless treasures in many a collection. This article will explore the history of landscapes and how they appeal both through their beauty and through the expression that they capture.
Early Beginnings:
The depiction of landscapes in art can be traced back to ancient civilisations, where artists often adorned surfaces with pastoral scenes and natural elements in an attempt to capture the beauty and essence of the world around them. One notable example of this is Ancient China, where Shan Shui, a style of painting that either involved or depicted natural landscapes, was a prominent artistic tradition. During this time, Chinese painters often sought to depict the natural world as not merely a physical representation but as also a reflection of spiritual and philosophical beliefs and ideals. As such elements such as mountains, rivers and trees were imbued with symbolic meaning and used to represent concepts of harmony, balance, and the cyclical nature of life.
In a similar tradition, the artists of Ancient Egypt utilised the river Nile to symbolise life, renewal and prosperity, along with the significance it had for everyday life. The inclusion of landscapes and natural elements in Egyptian art conveyed a connection between the natural world and the divine forces that governed it. As such, it was common to see depictions of fertile river valleys, abundant wildlife and lush vegetation, particularly on tomb paintings and temple reliefs.
The Renaissance Revival of Landscapes:
During the Renaissance, there was a revival of sorts in the interest and popularity of landscapes, particularly with artists such as Leonardo da Vinci and Albrecht Dürer bringing their own artistic sensibilities to the subject matter. For example, Da Vinci utilised his expertise and study in anatomy, geology and botany to create landscape works that were highly detailed and realistic in their representation. Unlike many other artists at the time, Da Vinci did not see a landscape as merely a background to a larger work, instead he saw landscapes and natural elements as subjects that could only serve to enhance a work’s overall composition and assist in conveying deeper symbolic meaning. Due to this philosophy, one can see a chain reaction form where artists stepped away from landscapes as merely backdrops to a human subject, and like Da Vinci they imbued them with deeper symbolic meaning. As such landscapes grew to not only have aesthetic value but also symbolic value due to their ability to convey allegorical, religious and/or philosophical messages and meanings.
Another Renaissance artist that contributed to the development of landscapes at this time was German artist Albrecht Dürer. Dürer’s landscape work often showcase dramatic skylines, rugged terrains and carefully rendered vegetation, and showed a deep appreciation for and study of the more subtle and sublime qualities of nature. Like Da Vinci he also brought to this subject matter a meticulous level of detail, however we do see in his work an in-depth play with perspective which allowed him to capture not only the humbler qualities of nature, but also the grand.
The Golden Age of Landscapes:
The 17th century could be said to have marked such a significant period in the history of landscape painting that it is only right to refer to it as the golden age of landscapes. During this time, particularly in Europe, we see a large collection of artists making notable contributions to the subject matter, that landscapes were elevated above being mere backgrounds to a common standalone subject within the realm of fine art.
One such artist, that played a pivotal role in reshaping the landscape subject, was Claude Lorrain. Known for his idealised and often poetic landscapes, Lorrain’s work commonly depicted pastoral scenes, classical ruins and serene vistas. The attention that Lorrain paid to atmospheric elements, such as light and shadow, and the way that these interacted with natural scenes, gave his work a sense of sublime beauty and tranquillity. Because of this effect his works often evoked emotional responses from their viewers, and could transport one through the canvas to idyllic and dreamlike realms that celebrated the harmonious relationship between humanity and nature.
In a contrasting style, artist Nicolas Poussin approached his landscapes with less dreamlike quality and more structure with a classical style. Featuring historical and mythological narratives with meticulously rendered architectural elements and scenes, Poussin’s work was less about the quality it gave off but more about its structured composition and symbolic undertones. Each component of Poussin’s work was imbued with allegorical and philosophical symbolism to reflect on themes of order, balance and the cyclical nature of life. As such his works often appealed to collectors who not only valued the aesthetics of a landscape but also the intellectual depth and symbolism it can convey.
Moving into the late 18th and early 19th centuries, English Romantic Painter J.M.W. Turner further expanded what the genre of landscape painting could be. Turner had an innovative use of light, colour and an expressive brushstroke technique which transformed his landscapes into vibrant and dynamic scenes that captured the power and majesty of nature. Often portraying dramatic seascapes, stormy skies and atmospheric conditions, his work would often evoke a sense of awe and wonder in any viewer. Because of this powerful emotional response, that they were able to evoke, Turner’s landscapes are much loved by many art collectors and in any collection still maintain the ability to transport viewers to distant powerful lands or imagination and contemplation.
Romantic and Realistic Landscapes:
Through the 19th century, the genre and subject of landscape art underwent significant transformations as a result of the emergence of Romanticism and Realism. Both of these new styles brought new perspectives and approaches to depicting the natural world, but each had a very specific emphasis. For example, Romanticism was characterised by its emphasis on emotion, imagination and the sublime. Because of this, artists such as Caspar David Friedrich often infused landscapes with a high level of emotional depth and spiritual symbolism and themes. Friedrich’s work often depicted solitary figures in contemplative poses amidst vast and often awe-inspiring natural landscapes. They were also imbued with symbolic elements such as ruins, cross-like trees and mystical light, all of which would add layers of meaning, depth and mystery to his works. Because of this subject matter and focus, his paintings explored the themes of solitude, melancholy and the transcendental power of nature. All of which whilst also evoking a sense of spiritual awe and introspection in his viewers and collectors.
On the other hand, Realism emphasis a depiction of the natural world with unflinching realism and honesty. Led by artists such as Gustave Courbet, Realism rejected any idealised, stylised or even romanticised views of nature and instead aimed to portray landscapes with a directness and truthfulness that challenged prevailing artistic conventions. Within this framework, Courbet’s paintings captured ordinary scenes of rural life, rugged terrains and working-class people. Utilising a dark, gritty and almost Earthly colour palette these works emphasised the raw beauty that can be found in nature and the authenticity of nature as not just light and romantic, but as also dark and harsh. Overall, landscapes completed in a Realist style and Courbet’s work appealed and continue to appeal to collectors who value truthful representations, more akin to a snapshot of nature created with paint.
Modern Expressions of Landscapes:
Moving towards the 21st century, landscape art saw a departure from the more traditional realism and instead towards more experimental and innovative styles that incorporated elements of Impressionism, Abstraction and Contemporary themes. During the late 19th and early 20th centuries we saw the emergence of Impressionism, which changed the way that landscapes were depicted. Artists in this period, such as Claude Monet, attempted to capture fleeting moments of light, atmosphere and emotion in their works. As such Impressionist landscapes often featured very loose brushstroke with visible texture and vibrant colours. The emphasis for these works also evolved moving from strict representation to instead focusing on capturing the sensory experience of being in and surrounded by nature.
The 20th century then saw artists such as Georgia O’Keeffe bringing to the forefront more abstract and highly stylised works of both landscapes and natural forms. O’Keeffe’s work, especially that of flowers, desert landscapes and bones, explored the themes of abstraction, colour and symbolism, focusing less on the subject and more on what it could convey to the viewer. Whilst showcasing a deep connection to the natural work, O’Keeffe’s innovative approach radically challenged traditional notions of the landscape genre by emphasising the expressive potential of the forms and colours found within nature.
Looking at what is next for landscape art, we will continue to see it evolve as artists further explore the intersection between nature, technology and the human experience. From digital art and multimedia installations, to conceptual explorations of environmental issues, contemporary artists now and will continue to engage with landscapes in diverse and thought-provoking ways. The themes of climate change, urbanisation and the ongoing relationship between humans and the natural world will become the forefront of contemporary landscape art in an effort to reflect the ongoing and continuous dialogue between art, society, and the environment in the 21st century.