Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Artworks Artists Collections. Artworks Artists Collections Buy art online. Landscape Painting in Europe In the Western tradition, appreciation of nature for its own sake was not always popular. Landscape with a Footbridge, c. Turner Modern Rome — Campo Vaccino, Oil Painting: The Wonder Paint. Pingback: at Watercolour Painting: Capturing the imagination.
Leave a Reply Cancel reply Your email address will not be published. Pride of possession mingled with feelings of affection. For Rubens the region round his own country house, the Chateau de Steen, near Malines, had a personal interest, leading him to paint every detail with loving care. The Dutch painters of the seventeenth century had their patriotic attachment to the land that had been wrested from foreign domination.
The levels seamed with waterways, the horizontals picturesquely broken here and there by windmills and patches of woodland, the whole low-lying scene canopied by the moving panorama of cloud were as intimate and homely as the Arcadia of the painters in Rome was idealized fancy, and the Calabria of Salvator romantically savage.
There were connoisseurs in England as devoted to the Dutch school of landscape as to the classical, to Jacob van Ruisdael and Meindert Hobbema as to Claude and Poussin. A certain geographical similarity between Holland and the East Anglian counties may account in part for the number of Dutch pictures acquired by those families of wealth with houses in the region.
English landscapists were for a long time treated with less respect. A George Lambert might be employed to portray a mansion in the same way as a minor portrait painter might be called in to paint a member of the family, but a Lambert's imitation of Gaspard could obviously not be treated with the same respect as the work of Dughet himself. The beautiful pictures of Suffolk landscape painted by Gainsborough in his early years were a phase of his art that faded away in the compulsion that caused him to move to Bath and become a fashionable portrait painter.
The landscape of his later years - a townsman's escape - had no sense of locality, though it had the corresponding advantage of light and mass in themselves. The career of Richard Wilson is an example of the fate of a hugely gifted artist who could only superficially be regarded as an imitator of the masters of classical landscape in Italy. Wilson did well enough as a portrait painter until at the age of 36 he went to Italy. He worked at Rome and Naples, where he had several pupils and was encouraged to concentrate on landscape by fellow artists such as Francesco Zuccarelli , the painter of decorative pastorals.
Returning to London after six years, professedly as a landscape painter, he found that the qualities of breadth and simplicity which made his glowing Italian landscapes truly original were disregarded by those who wished for more glamorous souvenirs of classical ground.
The connoisseurs no doubt took the view of Joshua Reynolds that Wilson's landscapes were 'too near common nature' to admit the inclusion of gods and goddesses. The mythological flavouring was what they valued. It was the next generation - and more especially the next generation of artists - that was to appreciate Wilson's greatness. Born within a year of each other, Constable and Turner were equally responsive to the outstanding masters of the tradition outlined above.
What remains of Constable's lectures on landscape painting shows in what proportion he saw the past. It was a spectacle of greatness, decline and revival. He praised the 'tranquil, penetrating and studious' art of Poussin, 'the lofty energy' of the Caracci, the 'sentiment and romantic grandeur' of Domenichino, the 'serene beauty' of the 'inimitable' Claude, the 'wild and terrific' conceptions of Salvator Rosa, and the 'freshness and dewy light' of Rubens.
For Constable, Rembrandt's Mill was an epoch in itself though he did not omit praise of Ruisdael and Aelbert Cuyp The decline was that of men who 'had lost sight of nature', among them the rococo painter Francois Boucher whose 'scenery', said Constable, was 'a bewildered dream of the picturesque'.
He had little good to say of John Wootton c. From these depths, landscape painting was rescued by Wilson and Gainsborough to whose names Constable, recognizing no distinction of merit between oil painting and watercolour, added those of the watercolourists J. Cozens and Thomas Girtin If Turner had likewise set out what he valued in the past, his selection of masters would not have differed greatly from Constable's.
He studied Claude as intently as Constable studied the works by him in Sir George Beaumont's collection. He would have concurred in giving an honourable place to the watercolourists alongside the oil painters. Had he not worked with Girtin at Dr. Monro's and admired Cozens when copying his finely austere Alpine views? Constable and Turner may be considered alike not only in their view of the landscape tradition, but in reflecting consciously or unconsciously the idea of a return to nature - so much in the air as the end of the century approached and its earlier urbanities and conventions palled.
Jean-Jacques Rousseau had advanced the idea philosophically, and even Boucher's 'pastoral of the Opera house', as Constable contemptuously described it, indicates the half-serious though also frivolous way in which the French court was impressed. Wordsworth gave the idea poetical exposition in England, with his preface on the principles of poetry in the edition of the Lyrical Ballads. However, the poetic feeling for nature had been gaining impetus since James Thompson had published his collected The Seasons fifty years before.
How his descriptions of landscape stimulated Turner is made evident by the quotations appended to the titles of his pictures in the Royal Academy catalogues. In spite of their equal regard for nature and many points of similarity in taste it is surprising to realize what a vast difference there was between the two nearly contemporary painters.
Constable, the countryman born, was an artist of local attachments, to his native Suffolk, to the flat lands and their great arch of sky in preference to the mountains that stirred the romantic imagination; and he had no wish to go outside England for theme or stimulus.
East Anglia had a special capacity for holding the affections of artists born in the region. John Crome , who spent nearly the whole of his life in his native city of Norwich and as the founder of the Norwich Society of Artists in became the leader of England's only local school, was even more of a regionalist than Constable.
Unlike either, Turner, born in west central London, amid dusky brick and under smoke-laden sky had to travel to gain his first experience of rural landscape. The topographical drawing which brought him early success caused him to make frequent expeditions about the country, and the romantic restlessness as well as the demand for albums with illustrations of places abroad, which arose at the end of the Napoleonic wars, impelled him regularly about Europe. As a romantic he may be contrasted with Constable, the realist.
The latter habitually worked direct from nature in oil-sketches and studies designed to capture as authentically and spontaneously as possible the light and atmosphere of the scene before him. The romanticism of Turner read into the Claudesque accessories of ancient ruins the whole tragedy of the decline and fall of civilizations, and exulted in the foaming torrents and vertiginous chasms of Alpine routes.
Constable was content with placid canals and smiling cornfields; Turner destroyed reality in order to extract from it a new release of energies, of chromatic vibrations. Constable came to the seaside at Brighton for the benefit of sea air for his ailing wife and marvellously conveyed the freshness of the atmosphere.
Turner had to cross the sea, his favoured element, to experience and convey its power and rage. Neither of these two supreme masters of landscape had any immediate influence in their own country, though the electric shock of truth was immediately felt in France when The Hay Wain was shown in Paris.
Its acclaim was, said Constable with a notable absence of that respect which other insular painters have shown for the French , due to the fact that vivacity and freshness were 'things unknown to their own pictures Any shortcoming in this respect was to be made good by the Impressionists - whom Constable as well as his younger compatriot Richard Parkes Bonington certainly anticipated - in the second half of the 19th-century.
Turner's conjunction of the elements was a more revolutionary adventure. The expressionist and abstract art of recent times, if not directly influenced by him, can at least refer to his great example and point to the fact that he called in a new world of art to redress the balance of the old. Does this text contain inaccurate information or language that you feel we should improve or change?
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