How to draw a landscape at sunset drawn with charcoal - Charcoal drawing for beginners (할 수있다 2024)
풍경화, 예술에있는 자연 경관의 묘사. 풍경화는 산, 계곡, 수역, 들판, 숲 및 해안을 캡처 할 수 있으며 사람뿐만 아니라 인공 구조물을 포함하거나 포함하지 않을 수 있습니다. 초기의 고대 및 고전 시대의 그림에는 자연 경관 요소가 포함되었지만 16 세기 르네상스 때까지 서양 전통에서는 독립 장르로서의 풍경이 나타나지 않았습니다. 동양의 전통에서 장르는 4 세기 중국으로 거슬러 올라갑니다.
다음 기사는 서구의 전통만을 다루고 있습니다. 다른 풍경화 전통에 대한 자세한 내용은 국가 또는 지역별 검색 (예: 중국어 회화, 일본 예술, 남아시아 예술: 시각 예술)을 참조하십시오.
16 세기, 17 세기, 18 세기 풍경화
풍경화는 여전히 그 자체로는 장르가 아니며 예술 아카데미의 엄격한 주제 계층 구조에서 낮은 것으로 간주되었지만 배경 풍경은 15 세기 후반 베니스에서 등장한 작곡에서 점점 더 자세 해졌습니다. 조반니 벨리니 (Govanni Bellini) (1465 년경 정원, 1467 년경 생 제롬 독서, 1480 ~ 85 년경), 조르지오 네 (The Tempest, c. 1505; 숭배) 목자, 1505/10). 16 세기 중반, 북유럽의 예술가들, 특히 Joachim Patinir와 Albrecht Altdorfer와 같은 다뉴브 학교 예술가들은 종종 성서적 인물들로 채워져 있지만 자연의 아름다움을 그 자체로 축하하는 그림을 제작했습니다. 16 세기 후반에플랑드르 예술가 Pieter Bruegel the Elder는 화려하고 매우 상세한 경치를 전문으로하는 마스터 풍경화 화가가되었습니다 (1558 년 이카루스의 가을 풍경, 1565 년 눈 속에서 사냥꾼, 1565 년 수확 자).
The 17th century ushered in the classical, or ideal, landscape, which set scenes in the mythic and idyllic Arcadia of ancient Greece. The leading practitioners of the classical landscape were the French-born Italy-based artists Nicolas Poussin and Claude Lorrain. With their idyllic scenes and classically ordered, harmonious compositions, Poussin and Claude attempted to elevate the reputation of the landscape genre in a variety of ways: by attaching metaphorical meaning to the natural elements of their paintings, by depicting mythological or biblical stories set in elaborate natural settings, and by emphasizing the heroic power of nature over humanity.
The other prominent landscape tradition of the 17th century emerged from the Netherlands in the work of Dutch artists Jacob van Ruisdael, Aelbert Cuyp, and Meindert Hobbema. The sky, often ominously cloudy and filling half or more of the canvas, played a central role in setting the tone of a scene. The Dutch artists of that period infused the elements of their compositions with metaphorical meaning and made use of the visual impact of small figures in a vast landscape to express ideas on humanity and its relationship to almighty nature.
The centre of landscape painting during the 18th-century Rococo period shifted from Italy and the Netherlands to England and France. French painters Antoine Watteau, Jean-Honoré Fragonard, and François Boucher developed lyrical and romantic outdoor scenes that, with precise detail and delicate colouring, glorified nature. Their lighthearted landscapes—called fêtes galantes—were decorative vignettes filled with beautifully dressed men and women enjoying outdoor amusements and leisure time. The English Rococo landscape tradition was led by Richard Wilson, who painted in Italy as well as in his native England. His best-known painting, Snowdon from Llyn Nantlle (c. 1765), which shows a group of three people fishing at a lake framed by mountains, exemplifies his serene style. Other English landscape painters of note include Thomas Girtin, John Robert Cozens, and Thomas Gainsborough (who was also well known for his portraiture).
The Romantic landscape and the first half of the 19th century
Landscape artists of the 19th century embraced the wide-reaching Romantic movement and infused their compositions with passion and drama. It was in the 19th century that landscape painting finally emerged as a respectable genre within the art academies of Europe and gained a strong following in the United States as well. In England two of the foremost landscape painters were John Constable and J.M.W. Turner. Both artists worked on a grand scale to express the power of nature. They were both masters at capturing on canvas the atmospheric qualities of the weather. Constable, however, worked in a realist mode with a high level of precision in his landscapes of the English countryside, whereas Turner, particularly later in his career, produced wildly expressionistic and atmospheric seascapes that verged on abstraction.
In Germany the Romantic landscape was epitomized in the work of Caspar David Friedrich, whose paintings were charged with emotional and religious symbolism and could be interpreted allegorically. Friedrich’s The Cross in the Mountains (c. 1808)—a painting of a crucifix illuminated by the sun’s rays at the summit of mountain—expresses a spiritual sentiment by way of the natural elements. French artists Jean-François Millet, Charles-François Daubigny, Théodore Rousseau, and others were part of the Barbizon school (1830s–70s), a group that painted in and around the Fontainebleau forest. The artists, though only loosely tied to one another, were united in their interest in capturing carefully observed nature. They eschewed the formal balanced compositions of their predecessors in preference for a truer, if less harmonious, depiction of their surroundings.
In the United States the Hudson River school (1825–70) painters were centred in the Hudson River valley in New York. In paintings of the Catskill Mountains, the Hudson River, and the wilderness of New England and beyond, the artists captured dramatic effects of light and shade, the finest details of their subject matter, and celebrated the unique beauty of still-untouched areas of the American landscape. The group’s first members—Thomas Cole, Asher B. Durand, and Thomas Doughty—inspired numerous younger painters including Frederic Edwin Church, Fitz Henry Lane, Jasper Cropsey, Albert Bierstadt, and Martin Johnson Heade. The invention of the tin tube for paint (1841) and the invention of the portable collapsible easel (also in the mid-19th century) revolutionized the landscape genre by allowing artists to venture out of the studio and study and paint their subjects firsthand. Outdoor painting became the dominant practice of the Impressionist painters of the late 19th century.
