![]() ![]() ![]() The frescoes lacked Francis’s empathy for the natural world. Giotto’s frescoes of the life of St Francis, painted at the Basilica in Assisi between 12, included trees as symbols. In Western culture, the first glimpse of landscapes appear as early as the thirteenth century as backgrounds to scenes of the Virgin, Nativity or other religious subjects. In this theme, we examine the emergence and development of landscape art, the interpretation of the landscape by the artist’s eye. The art historian Otto Pacht (1902 – 88) wrote, The discovery of the aesthetic value of landscape was the final outcome of a complex ripening process in which every form of imagination was involved and which concerned the entire attitude of man towards his physical environment(Shepard, 1967). The Western concept of a view or a scene as a way of conceptualizing landscape was unknown to the Aborigines (Taylor, 1994). They are painted as a plan view from above and require interpretation. Paintings by Australian Aborigines are depictions of Dreamtime stories representing relationships between elements that symbolize features such as streams, billabongs, rocks, snakes and meeting places. In addition, the many inscriptions praising the work of architects and builders were in terms of the durability and strength of the work, never its beauty (Beardsley, 1966). The ancient Egyptians appeared disinterested in aesthetics – their fine sculptures and paintings were located in tombs and temples rather than being for general view. These paintings were motivated by something other than an aesthetic desire possibly they are totemic, religious, a charm to ward off spirits or represented possession of a locality. An analysis of 2188 figures in 66 caves in Europe painted 3,000 – 8,000 BC found they all depicted animals (Leroi-Gouram, 1982, Ruspoli, 1987). Certainly, landscape scenes were never included. Interest-ingly, no Palaeolithic cave paintings contain scenes of nature other than animals and some human forms not even the ground is depicted. ![]() The very concept of capturing in a small picture an image of the wider world is itself a staggering advance. Landscape in 19 th century art Click hereĪs an expressive medium, paintings and drawings often reflect the idealized essence of that form of the physical environment that is regarded as beautiful by the prevailing culture. Landscape in 18 th century art Click here ![]() Landscape in 17 th century art Click hereġ7 th century landscape tastes Click here The Hudson River School ultimately helped shape an American identity.Landscape in pre-17 th century art Click here The Hudson River School also emerged alongside the new medium of photography, the new science of geology, and new technologies that transformed travel and inaugurated an industrial revolution. In addition to these three statements, this exhibition reveals that much more went into the making of the Hudson River School, such as the influence of European traditions and cultural movements, as well as America’s natural environment and commercial spirit. The name came into general use in the 1870s, at a time when their style was losing popularity. Third, the name Hudson River School was not used by the artists themselves. They frequently knew one another, went on sketching trips together, and exhibited their paintings side by side at exhibitions and galleries. Second, the Hudson River School was not an actual school, but a group of artists who mainly lived and painted in the Hudson River valley of New York. This exhibition originated from the frequently asked question “what is the Hudson River School?” We can begin with three basic facts.įirst, the Hudson River School refers to American landscape painting created between 1825 and roughly 1875. ![]()
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