Landscape paintings

Quels sont les rapports au paysage dans l’œuvre de Cy Twombly ? Comment le paysage est-il présent ? Peut-on parler d’un paysage abstrait ? Le but de cet article est d’étudier la notion du paysage et la manière dont elle se combine au vocabulaire abstrait de l’artiste. Nous tentons de décrire le fruit de cette combinaison et de l’inscrire dans un cadre théorique. Dans un deuxième temps, nous éprouvons cette démarche à travers l’analyse de l’œuvre Untitled Painting (Say goodbye Catullus to the shores of Asia Minor), 1994.
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How is the work of Cy Twombly connected to landscape? How is landscape present? Is it possible to speak of an abstract landscape? Through the analysis of Untitled Painting (Say goodbye Catullus to the shores of Asia Minor), 1994, this article studies the notion of landscape and the ways it is combined with the artist’s vocabulary.

The Northern Renaissance has been viewed as an extension of the artistic and cultural bloom in Italy, with the travels taken by Northern artists such as Albrecht Durer to support that claim. However, this assumption of inherently tying the success of the North to that of Southern Italy’s overlooks the creative transformations of image-making by individual artists in areas such as Germany and the breaking away from traditional ideas of subject matter, medium, and stylistic visual representation both in Italy and in different Northern societies as well. By looking at the rise of the drawing as its own autonomous work of art through the work of Albrecht Durer, the development of the landscape genre in the work of Albrecht Altdorfer, and the emergence of monochrome wood sculpture under Tilman Riemenschneider, one can view how these achievements both characterize the Northern Renaissance and mark a historical rupture from previous artistic traditions.

Dawoud Bey: Constructing Nature, Decolonizing Landscape

Inspired by the work of African American photographer Roy DeCarava and the poetry of Langston Hughes, Dawoud Bey’s Night Coming Tenderly Black series provides a blueprint for the kind of political art our time truly needs. The series of darkened gelatine silver prints visualizes the Underground Railroad – a network of safe houses and locations across the Cleveland and Hudson, Ohio landscapes in which fugitive slaves could find shelter on their way towards Lake Erie and the final fifty-mile passage to freedom in Canada.

            Leaving people entirely out of the picture, Bey makes his political statement through images of an often eerie and ambiguous American landscape at twilight. Across the series, non-affirmative aesthetics are entrusted with the task of revealing the inherent white supremacist power-structures that have defined three hundred years of European and American landscape painting.

Jacob van Ruisdael's dramatic landsape paintings, in particular his wild waterfalls, were already cherished by his contemporaries. They seem like a faithful representation of reality, especially the depictions of Castle Bentheim which he painted thirty times, but a look at the still extant castle shows an entirely different image. Who were the customers for these and the countless images of Haarlem, the so-called "Haarlempjes", and do these customers reveal anything about the dramatic depictions shown by Ruisdael?

This article explores how the representation of local food and raw materials distinguishes Bruegel’s seasonal subjects from those found in medieval calendar illuminations and the spiritually significant “world-landscape” tradition, and presents the landscape, instead, as an indicator of Antwerp’s suburban and mercantile interests during the period.

Thomas Cole, the father of North-American landscape painting, created at Catskills a compositional formula, which he used in many of his artworks. The Transcendentalist philosophy, Christian religion and theories of ether in physics influenced his work on this composition. The resulting conceptual and formalistic elements became defining for this painter's oeuvre. Developed by other masters of the Hudson River School, Cole's composition provided a foundation for the North American landscape.

Se reformularmos os critérios lineares e assumirmos um modelo baseado em antecipações e retrospecções, podemos compreender, a partir dos trabalhos mais recentes de Nadir Afonso, que a abstracção, uma das propostas artísticas centrais da primeira metade do último século, não se resume à mera oposição ao figurativo, antes contém uma tensão entre delimitação e expansão, que é de ordem espacial e que, sendo própria do pictórico, diz respeito à relação deste com o real. Daí que Nadir possa recuperar elementos figurativos e sugestões de perspectiva, sem pôr em causa a definição modernista da sua pintura, na medida em que esta assenta na valorização de um principio regulador – a harmonia – o qual garante a especificidade. Simultaneamente, os trabalhos anteriores, particularmente a partir do momento em que incorporam a lição cinética, antecipam o modo como a tensão delimitação/expansão, eminente pictórica, se situa no encontro do espaço da pintura com o espaço genérico. 
Torna-se deste modo compreensível que a herança utópica das vanguardas históricas surja transformada quer pela idiossincrasia do pintor, quer pelas coordenadas sócio-culturais diferenciadas onde ele actua. Assim, a abordagem à Cidade – situando-se entre o ponto de vista distanciado, panorâmico e idealizado, por um lado, e a vocação topológica que não ignora as condições espacio-temporais, por outro – prescinde da vocação modelar e ideológica sem renunciar à crença na capacidade terapêutica e transfiguradora da arte. De facto, para Nadir, se a arte não cria o real, pode transfigurá-lo filtrando a contingência e, nesse processo, transfigurar o indivíduo.
As condições do espaço e do movimento, inerentes à cidade, foram sendo trabalhadas ao longo dos anos, com obstinado rigor, por Nadir Afonso, numa pesquisa pictórica que, embora mantendo-se no quadro do modernismo e numa aspiração à harmonia, contribui, quando analisada na sua globalidade, para a compreensão e re-leitura da arte do século XX.

La presente tesi di laurea studia la ricezione delle idee newtoniane sulla luce e sul colore da parte dei pittori di paesaggio veneziani durante la prima metà del Settecento, in particolare Marco Ricci e Canaletto. La diffusione del trattato è stata mediata da parte di importanti mecenati, intellettuali e collezionisti, i quali coltivavano particolare interesse nei confronti delle scoperte di Newton e, in generale, sostenevano le idee scientifico-progressiste promosse in Europa del Nord. Sono pertanto indagati i rapporti tra diverse figure di spicco di Venezia ed i contatti tra loro intessuti con l’Inghilterra in ambito artistico, intellettuale e scientifico; sono stati inoltre studiati trattati manualistici pittorici, nei quali venivano proposti metodi di miscelazione derivati dai principi newtoniani. Pertanto, ai fini di rintracciare l’applicazione di tali metodi nelle opere d’arte, la ricerca si è avvalsa anche dell’analisi XRF di alcune opere di Canaletto, ai fini di rilevare i pigmenti, le preparazioni e le miscelazioni elaborate.

Edited by Gareth Doherty and Charles Waldheim, Is Landscape . . . ? surveys multiple and myriad identities of landscape. Rather than seeking a singular or essential understanding of the term, the collection postulates that landscape might be better read in relation to its cognate terms across expanded disciplinary and professional fields. The publication pursues the potential of multiple provisional working definitions of landscape to both disturb and develop received understandings of landscape architecture. These definitions distinguish between landscape as representational medium, academic discipline, and professional identity. Beginning with an inquiry into the origins of the term itself, Is Landscape . . . .? features essays by more than a dozen leading voices shaping the contemporary reading of landscape as architecture and beyond.

Contents: Foreword Mohsen Mostafavi; Introduction Doherty and Waldheim; Is Landscape Literature? Gareth Doherty; Is Landscape Painting? Vittoria Di Palma; Is Landscape Photography? Robin Kelsey; Is Landscape Ecology? Nina-Marie Lister; Is Landscape Gardening? Udo Weilacher; Is Landscape Planning? Frederick Steiner; Is Landscape Urbanism? Charles Waldheim; Is Landscape Infrastructure? Pierre Bélanger; Is Landscape Technology? Niall Kirkwood; Is Landscape History? John Dixon Hunt; Is Landscape Theory? Rachael Z. DeLue; Is Landscape Philosophy? Kathryn Moore; Is Landscape Life? Catharine Ward Thompson; Is Landscape Architecture? David Leatherbarrow.

This essay puts Michelangelo's infamous attack on Flemish painting in its aesthetic and political context. The anarchy and philistinism which he imputes to Flemish painting draws on a historic association between those who lived north of the Alps with the Goths and Vandals who destroyed ancient Rome. Their modern mercenary descendants were still invading Italy, and their artforms - musical as well as visual - had done so too. However, Michelangelo’s main concern was not so much with Flemish art per se, as with the fact that it was so influential on Italian artists. These artists included Michelangelo himself, and the ferocity of his attack is due in large measure to the problems he was encountering while painting that most crowded of subjects - the Last Judgment. To make matters worse, he was working in the Sistine Chapel, filled with supreme examples of Flemish visual and musical culture.

La letteratura artistica seicentesca ha posto i fondamenti teorici per la suddivisione in generi delle diverse categorie iconografiche di cui la pittura si compone. Questa classificazione da allora è entrata nell’uso comune e nel linguaggio dell’arte in modo talmente pervasivo da farla sembrare connaturata all’arte stessa; è implicitamente passato in secondo piano il fatto che, come ogni fenomeno culturale, anche i generi pittori ci hanno un loro momento d’inizio che ne condizionò la definizione e l’identità. Dove rintracciare, dunque, le origini di questo fenomeno?
Il tema, ricco e affascinante, costituisce il cuore di questo volume, frutto dello sforzo collettivo di un gruppo di studiosi che hanno condiviso e confrontato differenti metodologie e background di ricerca.
Gli otto casi studio, muovendosi tra Venezia, Roma, Colonia, Francoforte e Anversa, mettono a fuoco al- cune delle principali tematiche collegate allo sviluppo della pittura europea a cavallo tra ’500 e ’600: dalle pra- tiche di bottega e la specializzazione degli artisti, alla professionalizzazione mercantile dei pittori e alle loro connessioni con i mercanti, senza dimenticare alcune ben note tipologie pittoriche, dai cabinet paintings (o quadri da stanza) ai paesaggi affrescati, fino a una nuova ridefinizione visiva della pittura devozionale.

This study of the art market in seventeenth-century Friesland, and most specifically in Leeuwarden, has two objectives. The first is to correct the present image. Although too little work is known from the Golden Age for a stylistic overview, ample source material was found to have been preserved in Leeuwarden’s archives, making it possible to draw up a socioeconomic overview of the production of paintings in Friesland. Aside from setting out to revise existing views, the research also focused on Leeuwarden’s art market with a view to comparing its art production with that of the cities of Holland, in order to define its place in the production of the United Provinces as a whole. With this aim in mind, the research included earlier studies of the way local art markets worked in some of Holland’s major art centres, and the present study was set up and structured as much as possible along similar lines, to facilitate comparison. The research in Leeuwarden addressed three dis-tinct subjects: the community of painters, the infrastructure of the market, and the owner-ship of paintings.

Prima mostra monografica dedicata a Luigi Basiletti  con alcuni dipinti e disegni inediti provenienti da collezioni private. Le vedute riprendono i luoghi attraversati dal pittore bresciano durante i suoi i viaggi in Lazio e in Campania, Nella sua non vasta produzione comprende tele ispirate alle colline e ai laghi delle Prealpi bresciane che, per la prima volta, assumono il valore di soggetto figurativo.

Author: Luigi Gallo
Year: 2017
Publisher: L'ERMA di BRETSCHNEIDER
Series: L'ErmArte, 19
ISBN: 978-88-913-1241-9
ISBN: 978-88-913-1243-7  (e-book)
Binding: Paperback
Pages: 356, 20 ill. B/N, 54 ill. Col., 35 tav. f.t
Size: 17 x 24 cm
Resumé
L'étude aborde la figure de Pierre-Henri de Valenciennes (1750-1819) par rapport à la place du paysage dans la théorie artistique et la peinture française du XVIIIe siècle. L' analyse se fonde à la fois sur une lecture des témoignages laissés par l' artiste, ses uvres et son traité publié en 1800, et sur un examen détaillé du contexte culturel qui a permis et conditionné sa formation puis sa carrière.
Après en avoir retracé les étapes dans un profil biographique, qui souligne notamment ses relations avec Hubert Robert, Vernet, David et Quatremère de Quincy ainsi que son insertion dans les cadres institutionnels de la profession, l' enqute passe au crible la fortune critique du peintre depuis le XIXe siècle, qui a conduit à survaloriser son activité en plein air aux dépens du travail en atelier. Afin de dépasser ces limites, la seconde partie se concentre sur Valenciennes théoricien. Elle éclaire la longue tradition, aussi bien théorique que pratique, dans laquelle il s' est formé et qu' il a voulu prolonger et mettre à jour dans son traité, dont les deux sections respectives, les Éléments de perspective pratique et les Réflexions et conseils à un élève, donnent lieu à un commentaire détaillé qui met en évidence, depuis ses bases techniques jusqu'à ses enjeux esthétiques, sa conception de la peinture à la fois comme science sentimentale et comme poésie philosophique.
C' est grce à cette lecture qu' apparat l' unité cohérente du parcours formatif et créatif que Valenciennes théorise à partir de sa propre expérience, et qui aide à déchiffrer la genèse de son uvre. L' exécution des dessins et les études peintes permettait de recueillir des fragments du réel qui, une fois recomposés dans l'équilibre du tableau fini, aboutissaient à ces grands paysages historiques qui firent sa renommée aux Salons, et où devaient se conjuguer la vérité de la nature et l' idéal classique.

Biographie
Luigi Gallo s' est formé à Rome, à l' université La Sapienza, et à Paris, où il a soutenu une thèse de doctorat à l' université Paris I Panthéon-Sorbonne.

Dubbed by Calvin Tomkins "the most highly admired unknown artist in America," Albert York (1928–2009) painted some of the most quietly transcendent pictures of his time over the course of a three-decade career. With the cooperation of Davis & Langdale, Matthew Marks Gallery has created the most comprehensive monograph ever published on the artist. With full-color plates of over 60 works spanning York's career, reprints of essays by Tomkins and Fairfield Porter, a new essay by Bruce Hainley, and a comprehensive chronology and exhibition history, this book provides the first substantial overview of the artist.

The essay analyzes the drawings of the Lanciani Collection relating to the Campagna romana, mainly classified in volumes n. 24, 26, 30 and 36. Leaving aside vol. n. 24, which consists almost entirely of etchings from the Malerisch radierte Prospekte von Italien, nach der Natur und zu gezeichnet Rom radiert (1792-1798), and vol. n. 30, which contains cartographic materials, the contents of vols. n. 26 and n. 36 were examined in an effort to draw some conclusions about the criteria for selection and classification that was adopted by Lanciani, the collector and later refined by librarians and archivists of the Istituto di Archeologia e Storia dell’Arte: the result is that the collected works seem marked by a principle of “ad excludendum”, namely works do not have a marked connection to the more defined subject matters present in the collection or do not belong to a corpus dedicated to a single author. This has offered the opportunity for a more accurate reading of some of the works, from which has emerged some interesting rectifications in the identification of the places depicted, as well as some more precise attributions of artistic authorship  - as in the case of a small group of drawings to be credited to Giovanni Battista Busiri (1698 - after 1764), and clarifications about the large set of lithographs signed by Hendrik Voogd (1768-1839), which makes the Lanciani Collection a point of reference in the study of the Dutch painter’s engraved works, comparable to the most well-known collection at the Rijksprentenkabinet in Amsterdam.

Il primo artista a "vedere le Alpi", intese sia come soggetto autonomo di pittura sia come oggetto di trasfigurazione poetica, fu Giovanni Segantini. Questa, sotto il profilo critico, fu la vulgata largamente condivisa dalla critica italiana lungo tutto l'arco del Novecento, frutto della propensione a stabilire primati e svolte epocali nel percorso della storia dell'arte, quasi sempre a discapito della complessità del quadro generale e della reale cronologia dei fenomeni.