Grundzüge der Kunst der Landschaftsmalerei
Cyclorama, Veduten und die Sehnsucht nach Arkadien
Schriften zur Kunstgeschichte, Band 68
Hamburg 2018, 280 Seiten
ISBN 978-3-339-10046-7 (Print), ISBN 978-3-339-10047-4 (eBook)
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Landscape views in art may be entirely imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, it is called a topographical view. Such views, extremely common as prints in the West, are often seen as inferior to fine art landscapes, although the distinction is not always meaningful; similar prejudices existed in Chinese art, where literati painting usually depicted imaginary views, while professional court artists painted real views, often including palaces and cities
In the work of the seventeenth-century painters Claude Lorraine and Nicholas Poussin, the landscape background began to dominate the history subjects that were the ostensible basis for the work. Their treatment of landscape however was highly stylised or artificial: they tried to evoke the landscape of classical Greece and Rome and their work became known as classical landscape. At the same time Dutch landscape painters such as Jacob van Ruysdael were developing a much more naturalistic form of landscape painting, based on what they saw around them.
Michael Lausberg shows in his standard monography a brief history of landscape paintings focus mainly on the classical landscape of Nicolas Poussin and Claude Lorrain, the images on vedutas from the 18th century and the Dutch impressionists.
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