The history of the development of landscape as a genre of fine arts. School encyclopedia Historical development of the seascape in the visual arts

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The purpose of the lesson: to acquaint schoolchildren with various types and characters of the landscape, paintings by famous artists.

Lesson objectives:

• to teach to distinguish between types of landscape and the nature of the landscape;
• develop students' spatial imagination, creative thinking, aesthetic taste;
• perform practical work using the information received in the lesson;
• foster a friendly attitude in the team, accustom to discipline;
• create a sketch on the topic: "The road that I wanted to go"

Lesson type: combined.

Type of lesson: lesson using ICT lecture, creative work.

Age of students: 6th grade.

Hardware and software: a computer with Windows XP Professional, a multimedia projector, a whiteboard for the projector.

Art materials: album, pencil or charcoal.

Visual aids (reproductions of paintings in the presentation):

1. Alexey Savrasov "The Rooks Have Arrived"
2. Nikolai Anokhin "Old Oaks"
3. Isaac Levitan "March"
4. Malikova Daria "Stop Angel"
5. Maria Sid "Park Landscape"
6. Irina Mysova "Quiet Bay"
7. B. Yakovlev "Transport is getting better"
8. Pavel Korin "Alexander Nevsky"
9. A. Rylov "In the blue expanse"
10. V. Polenov "Moscow Courtyard", "Birch Alley in Abramtsev Park"
11. N. Roerich "Izborsk towers", "Cross on the Truvor settlement", "Patrol", "Slavic land", "Sunday monastery in Uglich", "Pechora. Big belfry”, “Heavenly battle”
12. Levitan "Lake"
13. I. Shishkin "Road in the Forest", "Forest", "Ship Grove" "Noon in the Outskirts of Moscow", "For Mushrooms", "Rye"
14. F. Vasiliev "Village", "Village Street", "Wet Meadow"
15. A. Savrasov "Rainbow", "Sea of ​​Mud", "Country Road", "Rye"
16. Korovin K. "Early Spring", "Yard", "Winter"
17. A.P. Ostroumova-Lebedev "Fountain and summer garden in hoarfrost", "Amsterdam",
18. Dobuzhinsky M.V. "House in St. Petersburg", "London. Monument, Petersburg
19. S. Shchedrin "Landscape with ruins", "Column with an eagle in Gatchina",
20. A. Benois "Water parterre in the Versailles park", "Versailles", "Water parterre in Versailles", "Venetian garden",
21. I.K. Aivazovsky "Moonrise in Feodosia", "Stormy sea at night",
22. Zlobin Pavel. "At the Volga"
23. Veronika Surovtseva "Flowers in the forest",
24. Vladislav Koval "Zone"
25. A.M. Vasnetsov "Moscow courtyard in winter", "Ruins of the house", "House of the former Archaeological Society",
26. Alexey Brikov "Train", "Construction of the Kuibyshevskaya GRES"

Interdisciplinary connections: geography, history.

Lesson plan:

1. Organizing time.
2. Studying a new topic: “Landscape. Its types and characters.
3. Fixing the material.
4. Practical work.
5. Work analysis.
6. Grading in the diary and journal.

DURING THE CLASSES

I. Organizational moment

II. Explanation of the new topic

(Slides 2, 3)

- Today at the lesson I would like to introduce you to the various types and characters of the landscape, paintings by famous artists and artists of the Volgograd region. Before starting the lesson, we set ourselves the tasks that we will solve in the lesson:

(Slide 4)

1. Learn to distinguish between types of landscape and the nature of the landscape,
2. To develop students' spatial imagination, creative thinking, aesthetic taste
3. Perform practical work by creating a sketch on the theme "The road I would like to take."
4. Cultivate a friendly attitude in the team, learn to discipline.

(Slide 5)

– Who in our time does not know what a landscape is?

Children's answer: This is a picture that shows a forest, a field, a river, a sea or a city, a village, a railway, etc.

(Slide 6)

Dahl's encyclopedia gives the following definition of landscape - it is a direct echo of a person's soul, a mirror of his inner world.
On Wikipedia, the definition is as follows: landscape "zh (fr. Paysage, from pays- country, locality), in painting and photography - a type of picture depicting nature or any locality (forest, field, mountains, grove, village, city).

The inexhaustible diversity of nature gave rise to various types of landscape genre in the visual arts.

1. Rural landscape

Many artists resorted to this landscape - Fedor Alexandrovich Vasilyev, Alexei Kondratievich Savrasov, Isaac Ilyich Levitan, Konstantin Alekseevich Korovin, etc. In the rural landscape, the artist is attracted by the poetry of rural life, its natural connection with the surrounding nature.

2. Urban landscape is distinguished by a spatial environment rationally organized by human hands, including buildings, streets, avenues, squares, embankments.
The image of old Petersburg was very inspired by the creative group called "World of Art".
Mstislav Valerianovich Dobuzhinsky (“Petersburg”, “House in St. Petersburg”) and Anna Petrovna Ostroumova-Lebedeva, who created a whole series of engravings dedicated to this city, occupied a special place in creating the image of baroque, classical and contemporary St. Petersburg.

3. Park landscape

It depicts corners of nature created for relaxation and satisfaction of the aesthetic needs of people. Such landscapes were created by Semyon Fedorovich Shchedrin in the 18th century and Alexander Nikolaevich Benois at the end of the 19th century. In their paintings, a harmonious combination of natural forms with decorative sculpture and architecture.

4. Seascape

Seascape paintings are also called marinas. Wikipedia gives the following definition: Marina (it. marina, from lat. marinus - sea) - one of the types of landscape, the object of which is the sea. Marina - tells about the peculiar beauty of either a calm or a stormy sea.
There were very few adherents of this landscape in Russia, but the brightest of them was Ivan Konstantinovich. Aivazovsky. His paintings "Black Sea" and "The Ninth Wave" are known throughout the world. Your attention today provided the painting "Moonrise in Feodosia", "Stormy sea at night."

5. Architectural landscape close contact with the city. But in the architectural landscape, the artist pays the main attention to the image of architectural monuments in synthesis with the environment. Nikolai Konstantinovich Roerich, Alexander Nikolaevich Benois, Pyotr Petrovich Konchalovsky and others turned to the architectural landscape.

6. In an industrial landscape the artist seeks to show the role and significance of a person - the creator, builder of factories and factories, dams and power plants. Such a landscape appeared in Soviet times. It was inspired by the idea of ​​restoring the national economy after the devastating years of the civil war.
It began in the 20s of the XX century with the painting by Boris Nikolayevich Yakovlev “Transport is getting better”. The stingy pictorial and narrative language of the picture is, as it were, akin to the harsh time. The poetics of the industrial landscape has become the central theme of the work of many artists throughout the 20th century.

Diversity of the landscape.
Depicting nature, the artist reflects the ideas of the people of his era about the beauty in the reality around them.
The artist interprets each landscape in his own way, putting a certain meaning into it.
There are five types of landscape character. It is heroic, historical, epic, romantic landscape and mood landscape. Let's consider them in more detail.

(Slide 15)

1. Heroic landscape

This can be called a landscape in which nature seems majestic and inaccessible to humans.
It depicts high rocky mountains, mighty trees, a calm expanse of waters and against this background - mythical heroes and gods. This is how the landscape looks in Pavel Korin's triptych "Alexander Nevsky".

(Slide 16)

This type of landscape includes the painting by A. Rylov “In the blue expanse”. It was written in 1918, in which the heroic-romantic image of freedom and courage is allegorically resolved: free birds in the free sky, a tiny sailboat in the ringing space, sailing towards the messengers of the awakening earth.

2. Mood landscape

The desire to find in various states of nature a correspondence to human experiences and moods gave the landscape a lyrical coloring. Feelings of longing, sadness, hopelessness, or quiet joy are reflected in the mood landscape.
– What artist is associated with the appearance of the lyrical landscape? (A. Savrasov "The Rooks Have Arrived".)
- Vasily Dmitrievich Polenov gave life to the so-called lyrical landscape, in which there was also an everyday genre: “Moscow courtyard”, “Birch alley in Abramtsev park”.
A student of Alexei Kondratievich Savrasov and Vasily Dmitrievich Polenov, Isaac Ilyich Levitan combined epic and intimate, lyrical lines in his work. "Om was one of the first Russian artists who began to paint blue and purple shadows on the snow, who conveyed the beauty of the finest shades of the colors of summer twilight and the blue transparency of moonlight." He approved the landscape in Russian art, which is called the "mood landscape".

3. Historical landscape

In the landscape genre, historical events are indirectly embodied, which are reminded of by the depicted architectural and sculptural monuments associated with these events. Such a landscape is called historical. He revives the past in memory and gives it a certain emotional assessment.
First of all, Nicholas Konstantinovich Roerich and Appolinary Mikhailovich Vasnetsov should be called representatives of the historical landscape. Both were fond of archeology and were great connoisseurs of Russian antiquity. In 1903 N.K. Roerich wrote "Izborsk Towers", "Cross on the Truvorov Settlement", later resurrects the military past of the ancient city in the paintings "Watch", "I See the Enemy", "Slavic Land". The artist set himself the task of glorifying the beauty of ancient Russian architecture in the language of painting, convincing his contemporaries of the great value of ancient monuments. A.M. Vasnetsov in urban landscapes restored pictures of the life of our ancestors. He painted Moscow in the 17th century.

4. Epic landscape

Majestic pictures of nature, full of inner strength, special significance and dispassionate calm, are characteristic of the epic landscape. In a sense, the ideal image of the Russian land, glorious for its forest wealth, wide fields and mighty rivers, was created by Ivan Ivanovich Shishkin.
Characteristic in this regard is the last great work of Isaac Ilyich Levitan - "The Lake", the artist gave it a second name - "Rus", thus denoting the epic program of the work. In this landscape, the artist seeks to show a collective image of Russian nature in its characteristic state.

5. Romantic landscape

The landscape sometimes captures a rebellious beginning, disagreement with the existing order of things, the desire to rise above the ordinary, to change it. Thunderclouds, swirling clouds, gloomy sunsets, violent winds are the motifs of a romantic landscape.
The spirit of romanticism is present in the paintings of Alexei Kondratievich Savrasov "Country Road" and "Rye".
The dynamic landscapes of Fyodor Aleksandrovich Vasiliev are imbued with a romantic feeling.
Ivan Konstantinovich Aivazovsky was called a romantic artist.
In the outstanding work of Nicholas Konstantinovich Roerich “Heavenly Battle”, clouds pile up over the wavy outlines of the hills - now swirling, then straight and sharp, like arrows. The combination of dynamism with majestic and solemn monumentality can be attributed to the epic-romantic landscape.

Nature is a book of wisdom.
The landscape helps to read this book, to master the precious wealth contained in it.
He depicts nature in its individual manifestations and therefore can gradually reveal its innermost meaning.
Nature teaches and educates us directly, daily and deeply.

III. Fixing the material

1. What landscapes can you name according to the type of image?
2. How do landscapes differ in character?
3. Which landscape is closer to you in spirit?
4. Determine the type and nature of the landscapes painted by Volgograd artists

(Slide 22)

IV. Practical work

Make a sketch on the topic “The road I would like to take” or “The architectural landscape that I would like to see around me (landscape of the future, present, past)”.
Materials: album, simple pencil, charcoal (optional).
Visual row: F. Vasiliev. Village street. A Lentulov. Landscape with dry trees and tall houses, St. Basil's Cathedral. M. Dobuzhinsky. House in St. Petersburg, A. Benois. Versailles. Walk of the King. Aivazovsky. Black Sea. B. Yakovlev. Transport is getting better. Rylov. In blue space. Polenov. Moscow courtyard. Levitan. Evening chimes, Lake. Roerich. Slavic land. Heavenly fight. Vasiliev. Before the storm.

(Slide 23)

V. Job Analysis

VI. Grading in the diary and journal

(Slide 24)

- Thank you for the lesson!

Scenery(French Paysage, from pays - country, locality) - a genre of fine art (as well as individual works of this genre), in which the main subject of the image is primordial or, to one degree or another, nature transformed by man. Modern ideas about the landscape have been formed over the centuries with the development of artistic techniques for depicting it. In a landscape work, particular importance is attached to the construction of the perspective and composition of the view, the transfer of the state of the atmosphere, the air and light environment, and their variability.

Landscape - a genre of painting

Genre characteristics

The landscape is relatively young. For centuries, images of nature were drawn only as an image of the habitat of the characters, as scenery for icons, later for scenes of genre scenes and portraits.

Gradually, with the development of scientific and experimental knowledge of linear and aerial perspective, chiaroscuro, proportionality, general composition, color, image relief, natural views first became an equal member of the plot composition, and then transformed into the central subject of the image.

For a long period of time, landscape motifs were generalized, composed, idealized views. A significant breakthrough in relation to the artist's awareness of the meaning of the landscape was his depiction of a specific area (the shore of Lake Geneva, the 15th-century Swiss artist Konrad Witz).

In the world-cultural process, the landscape as a pictorial genre declared itself, first of all, as a European art, despite the existence of ancient Chinese and other Eastern traditions of the art of landscape drawing and their influence on European artistic processes.

Landscape works by European masters of the 17th-18th centuries are an integral example of ideal aesthetic views on the landscape, the works of the Impressionists and Post-Impressionists were the culmination of the extraordinary formation of the landscape genre at the end of the 19th century.

The heyday of landscape painting marked the development of the plein air landscape, associated with the invention in the 19th century of the method of producing tube paints. The painter could work away from his workshop, in nature, with natural light. This greatly enriched the choice of motives, brought art closer to the viewer, and enabled the creator to translate his immediate emotional impressions into a work of art.

If in past times, especially under the dominance of academicism, the landscape belonged to a “secondary” genre of painting, then, especially starting with the Impressionists (with their undoubtedly leading landscape priority) and to this day, this trend is represented in the work of many artists and enjoys the enduring interest of amateurs. painting. When looking at the best landscape works, you can almost physically feel the breath of the wind, the smell of the sea, the silence of snow or the sound of foliage.

Elements, types and characters of the landscape

The landscape usually depicts open space. It, as a rule, presents an image of the water and / or earth surface. Depending on the direction - vegetation, buildings, equipment, meteorological (clouds, rain) and astronomical (stars, sun, moon) formations.

Sometimes the artist also uses figurative inclusions (people, animals), mainly in the form of relatively fleeting plot situations. In the landscape composition, however, they are given an unequivocally secondary importance, often the role of staffing.

Depending on the type of motif depicted, one can single out a rural, urban (including architectural - veduta and industrial) landscape. A special area is the image of the sea element - a seascape or marina. At the same time, landscapes can be both chamber and panoramic.

In addition, the landscape can be epic, historical, heroic, lyrical, romantic, fantastic and even abstract.

Landscape in the fine arts of Europe

The development of the landscape genre from antiquity to the 20th century

Elements of the landscape can already be found in the rock art of the Neolithic era (Tassilin-Adzher Plateau in the Sahara). Primitive masters schematically depicted rivers or lakes, trees and stone blocks on the walls of caves.

In the art of the ancient Mediterranean, the landscape motif is a fairly common detail in the wall paintings of patrician houses.

However, later, in the art of the Middle Ages, the ideals that inspired ancient artists - the joy of being, physicality, truthfulness - gave way to pictorial views, primarily in a solid, figurative form, giving an idea of ​​the beauty of the divine: painting was intended to influence the viewer as a silent sermon ( the vast majority of the population was unable to directly access the Bible - its translation from Latin appeared only in the XIV century).

The landscape practically disappears from painting for a long time - icon painters almost neglect the background, if necessary, depicting nature and buildings in a very schematic and non-dimensional way.

Interest in the landscape becomes clearly noticeable, starting with the painting of the Early Renaissance - Quattrocento, XV century. (four hundred years, starting from the thousandth). Many testify to the desire of painters to achieve a harmonious and holistic image of nature and man. Such, for example, is the canvas "Procession of the Magi" by the Italian master Sassetta (1392-1450/51).

Landscape motifs began to play an even more important role in the High Renaissance, the Cinquecento (16th century). It was this period, more than any other, focused on finding the best possibilities for composition, perspective, and other components of painting to convey the world around. Now the landscape seems to be an important element of the picture. The most striking example of this is the famous portrait of the Mona Lisa, painted by Leonardo (1452-1519). No wonder it was in this era that the social status of the artist changed diametrically: from a representative of one of the lower classes of traditional society (in the Middle Ages, the artist was assigned to a paint shop), he is transformed into a sociocultural ideal, since it is in his activity that the main cultural ideas, values ​​and ideals of the Renaissance are realized. humanism: freedom, creativity, initiative, self-sufficiency and self-development.

The masters of the Venetian school played an important role in the creation of the landscape genre of this period. One of the first artists in whose paintings nature is the main character was Giorgione (1476/7-1510). The landscape on the canvas "Thunderstorm" is definitely a carrier of feelings and moods. And already in the early canvas of Titian (1473 / 88-1576) “The Flight into Egypt” (1508), the image of nature in the background begins to dominate the scenes shown in the foreground.

The traditions of the Venetian school were also reflected in the painting of Titian's student, the Spanish painter El Greco (1541-1614). Among the most famous paintings of the master is the landscape "View of Toledo".

In Northern Europe, starting from the 16th century, the landscape also gradually leaves the field of attraction of other artistic genres. Images of nature occupy an important place in the work of many artists of the Dutch school - Pieter Brueghel (the Elder) (c. 1525-1569), Jan Vermeer of Delft (1632-1675) and others. Most Dutch landscapes are characterized by a muted coloration, consisting of light silver, olive-ocher, brownish hues, close to the natural colors of nature.

The realistic art of Spain, Italy and France influenced the further development of landscape painting. The virtuoso paintings by the great Spanish master Diego Velasquez (1599-1660) testify to the birth of plein-air painting. In his work “View of the Villa Medici”, the freshness of greenery is conveyed, the warm shades of light gliding through the leaves of trees and high stone walls.

During the period of classicism (XVII century), nature was interpreted based on the laws of reason, and its representation in the form of ideal harmony was considered an aesthetic standard (idyllic landscape). Claude Lorrain (1600-1682) and other painters.

Nature appears differently on the canvases of Baroque masters, who strive to convey the dynamics of the surrounding world, the turbulent life of the elements. Landscapes that affirm the joy of being are characteristic of the work of the Flemish Peter Paul Rubens (1577-1640) (“Landscape with a Rainbow”).

In the 18th century, the architectural landscape became widespread, elements of which appeared in the art of the Middle Ages. Representatives of the Venetian school of painting Francesco Guardi (1712-1793), Canaletto (1697-1768) were remarkable masters of the veduta.

A prominent representative of Rococo art (XVIII century) was the French artist Francois Boucher (1703-1770), who created landscapes, as if woven from blue, pink, silver shades. Boucher studied with another French artist who worked in this style - Jean Honore Fragonard (1732-1806), whose colorful landscapes are permeated with air and light.

In landscape painting of the Enlightenment (second half of the 18th century), artists sought to show the viewer the aesthetics of natural nature. Based on natural observations and equipped with bright lighting effects, the seascapes of Joseph Vernet (1714-1789) delighted his contemporaries.

Vernet's painting had an impact on representatives of the romantic trend that appeared in European and American art in the first half of the 19th century. Significant representatives of the romantic landscape in England were William Turner (1775-1851) and John Constable (1776-1837), in Germany - Caspar David Friedrich (1774-1840).

The beauty of simple rural nature was discovered for the viewer by French landscape painters - representatives of the Barbizon school: Theodore Rousseau (1812-1867), Jules Dupre (1811-1889) and others. with the help of valers.

Camille Corot was considered his predecessor by the French Impressionists. Plein air landscapes by Claude Monet (1840-1926), Auguste Renoir (1841-1919), Edouard Manet (1832-1883), Camille Pissarro (1830-1903), Alfred Sisley (1839-1899) and others amazingly convey the changing light and air environment .

The traditions of the Impressionists were also developed in their painting by post-impressionist artists: Paul Cezanne (1839-1906), Vincent van Gogh (1853-1890), Georges-Pierre Seurat (1859-1891), Paul Signac (1863-1935) and others.

In the 20th century, representatives of various artistic movements turned to the landscape genre. Fauvists created vivid pictures of nature: Henri Matisse (1869-1954), André Derain (1880-1954), Albert Marquet (1875-1947), Maurice Vlaminck (1876-1958), Raoul Dufy (1877-1953) and others.

Cubists - Pablo Picasso (1881-1973), Georges Braque (1882-1963), Robert Delaunay (1885-1941) and others made their landscapes in the form of geometric shapes. The landscape genre was also of interest to surrealists - Salvador Dali (1904-1989) and others, and abstractionists - Helen Frankenthaler (1928-2011) and others.

Representatives of realistic trends - Rockwell Kent (1882-1971), George Wesley Bellows (1882-1925), Renato Guttuso (1911 / 2-1987) and others - have invariably remained recognized masters of landscape painting in the 20th century.

Landscape in Russian art

The evolution of landscape painting from romanticism to realism

Landscape as a genre of painting appeared in Russian art at the end of the 18th century. Semyon Shchedrin (1745-1804) is considered to be its founder. Shchedrin's landscape works are built on the stylistic canons of classicism (the use of wings in the composition, the three-dimensional distribution of color, the smoothed texture of the writing). In their still conditional beauty, however, they differ significantly from the “picturesque views” of cities and places of interest that existed before in their artistic and emotional expressiveness. It is achieved in various ways by the depth and breadth of the distances, the contrasts between the large masses of the foreground and the green-blue expanses that open behind them, which on the whole gives his landscapes an impressive airiness.

Other pioneers of this genre were the artists Fyodor Matveev (1758-1826), Fyodor Alekseev (1753/55-1824) and other artists, like Shchedrin, who were trained in academic painting in Western Europe.

Classicism continued to occupy a dominant position in the Russian art of landscape painting at the beginning of the 19th century. Matveev (heroic landscapes) and Alekseev (elegiac views of St. Petersburg and Moscow) continue to work, and Andrey Martynov (1768-1826) also attracts urban views.

This direction, however, was gradually more and more supplanted by romanticism. Here it should be noted Sylvester Shchedrin (1791-1830), Vasily Sadovnikov (1800-1879), Mikhail Lebedev (1811-1837), Grigory Soroka (1823-1864), and, of course, Alexei Venetsianov (1780-1847), one of the first showing the charm of the dim nature of the Central Russian strip.

A brief excursion into the history of the development of the landscape genre

Translated from French, the word "landscape" (paysage) means "nature". This is how a genre is called in the fine arts, the main task of which is the reproduction of natural or man-altered nature.
In addition, a landscape is a specific work of art in painting or drawing, showing the viewer nature. The "hero" of such a work is a natural motive or a natural motive invented by the author.

"Seaport", 1st century, painting from Stabiae

Landscape elements can already be found in rock art. In the Neolithic era, primitive masters schematically depicted rivers or lakes, trees and stone blocks on the walls of caves. On the Tassilin-Ajjer plateau in the Sahara, drawings were found with scenes of hunting and driving herds. Next to the figurines of animals and humans, the ancient artist sketched a simple landscape, making it impossible to specify the scene. In the art of the Ancient East and Crete, a landscape motif is a fairly common detail in wall paintings. So, not far from the village of Beni Hasan in Central Egypt, rock tombs of ancient Egyptian rulers who lived in the 21st-20th centuries BC were found. One of the many frescoes that covered the walls of the burial chambers depicts a wild cat hunting in dense thickets. Among the murals of the halls of the famous Knossos Palace on the island of Crete, a painting was discovered, called by the researchers "Partridges in the rocks."
In the ancient Roman city of Stabia, destroyed, like Pompeii, during the eruption of Vesuvius, among other paintings found in one of the patrician houses, the fresco "Seaport" stands out, which is a real seascape.
As an independent genre, the landscape appeared already in the 6th century in Chinese art. Pictures of medieval China very poetically convey the world around. Spiritual and majestic nature in these works, done mainly in ink on silk, appears as a vast universe that has no boundaries. The traditions of Chinese landscape painting have had a great influence on Japanese art. Unfortunately, the scope of our publication does not allow us to talk in detail about the landscape painters of China and Japan - this is a topic for a separate book.
In Europe, the landscape as a separate genre appeared much later than in China and Japan. During the Middle Ages, when only religious compositions had the right to exist, the landscape was interpreted by painters as an image of the habitat of the characters.

P. de Limburg. "The month of March", 15th century, from the Luxurious Book of Hours of the Duke of Berry

European miniaturists played an important role in the formation of landscape painting. In medieval France, at the courts of the Dukes of Burgundy and Berry in the 1410s, talented illustrators, the Limburg brothers, worked as creators of charming miniatures for the hour book of the Duke of Berry. These graceful and colorful drawings, telling about the seasons and their corresponding field work and entertainment, show the viewer natural landscapes, executed with a masterful transmission of perspective for that time.
A pronounced interest in the landscape is noticeable in the painting of the Early Renaissance. And although artists are still very inept in conveying space, cluttering it with landscape elements that do not fit with each other in scale, many paintings testify to the desire of painters to achieve a harmonious and holistic image of nature and man. Such is the canvas "Procession of the Magi" (first half of the 15th century, Metropolitan Museum of Art, New York) by the Italian master Stefano di Giovanni, nicknamed Sacetta.
A significant step forward in the development of landscape painting was made by the Swiss artist of the 15th century, Konrad Witz, who showed in his composition on a religious subject a specific area - the shore of Lake Geneva.
Landscape motifs began to play a more important role in the High Renaissance. Many artists began to carefully study nature. Rejecting the usual construction of spatial plans in the form of wings, a heap of details that are inconsistent in scale, they turned to scientific developments in the field of linear perspective. Now the landscape, presented as a whole picture, becomes the most important element of artistic plots. So, in the altar compositions, which painters most often turned to, the landscape looks like a scene with human figures in the foreground.

Stefano di Giovanni. "Procession of the Magi", first half of the 15th century, Metropolitan Museum of Art, New York

Despite such clear progress, until the 16th century, artists included landscape details in their works only as a background for a religious scene, genre composition or portrait. The most striking example of this is the famous portrait of Mona Lisa (c. 1503, Louvre, Paris), painted by Leonardo da Vinci.
With remarkable skill, the great painter conveyed on his canvas the inextricable connection between man and nature, showed the harmony and beauty that for many centuries have made the viewer freeze in admiration before the Mona Lisa.
Behind the back of a young woman, the boundless expanses of the universe open up: mountain peaks, forests, rivers and seas. This majestic landscape confirms the idea that the human person is as many-sided and complex as the natural world. But people are not able to comprehend the numerous secrets of the surrounding world, and this seems to be confirmed by a mysterious smile on the lips of the Mona Lisa.

Leonardo da Vinci. "La Gioconda", ca. 1503, Louvre, Paris

Gradually, the landscape went beyond other artistic genres. This was facilitated by the development of easel painting. In small-sized paintings by the Dutch master I. Patiner and the German artist A. Altdorfer, the landscape begins to dominate the scenes shown in the foreground.
Many researchers consider Albrecht Altdorfer to be the founder of German landscape painting. Small human figures on his canvas "Forest Landscape with the Battle of St. George" (1510, Alte Pinakothek, Munich) are lost among the mighty tree trunks, the powerful crowns of which obscure the earth from sunlight.
The later painted "Danubian Landscape" (c. 1520-1525, Alte Pinakothek, Munich) and "Landscape with Werth Castle" (c. 1522-1530, Alte Pinakothek, Munich) indicate that now the image of nature is the main and, probably, , the only task of the artist.

A. Altdorfer. Danube Landscape, ca. 1520-1525, Alte Pinakothek, Munich

Giorgione. Thunderstorm, ca. 1506-1507, Accademia Gallery, Venice

El Greco. "View of Toledo", 1610-1614, Metropolitan Museum of Art, New York

Pieter Brueghel the Elder, Gloomy Day, 1565, Kunsthistorisches Museum, Vienna

In the 17th century, many national schools appeared, new genres and their varieties were formed. This time was very successful for the further development of the landscape genre.
The traditions of Brueghel in the field of landscape painting were picked up by representatives of the Dutch school.
The Dutch bourgeois revolution (1566-1609) revived the cultural life of the country and contributed to creative progress. The 17th century saw an extraordinary flowering of Dutch painting and all its genres, the most common of which is landscape painting.
Dutch landscape painters were able to capture on their canvases a comprehensive picture of the world in all its manifestations. Works by such artists as H. Averkamp, ​​E. van der Poel, J. Porcellis, S. de Vlieger, A.G. Cape, S. van Ruisdael and J. van Ruisdael convey the pride of a person for their land, admiration for the beauty of the sea, native fields, forests and canals. The feeling of sincere and boundless love for the surrounding world is felt in all the works of Dutch landscape painters.

Hendrik Avercamp_Winter Landscape, Pinacoteca Ambrosian, Milan

Jan van Goyen, Fishermen

With subtle lyricism, the wonderful artist Meindert Hobbema conveys roads with trees along the roadsides and alleys in the forest. The main feature of the landscapes of another Dutch master, Albert Cuyp, is the combination of the landscape with the animalistic genre. His paintings delight the viewer with their rich and sonorous colors.

I. Vermeer of Delft. "Street", before 1660, Rijksmuseum, Amsterdam

Jacob van Ruysdael - "The Mill in Wijk" (c.1670).

In 17th-century Holland, cosmopolitan landscapes were very popular, and their authors specialized in creating imaginary landscapes in the Italian style. But it was not them, but canvases with motifs of modest Dutch nature that made Dutch painting such a significant phenomenon in world culture.
The realistic art of Spain, Italy and France also played a role in the development of landscape painting. In the work of Diego Velasquez there are landscapes that reflect the subtle observation of the great Spanish master ("View of the Villa Medici", 1650-1651, Prado, Madrid). Velazquez masterfully conveys the freshness of greenery, warm shades of light gliding through the leaves of trees and high stone walls.
Velasquez's paintings testify to the origin of plein air painting: leaving the workshops, the artists went to work in the open air in order to better study nature.

D. Velasquez. "View of the Villa Medici", 1650-1651, Prado, Madrid

In the 17th century, the principles of creating an ideal landscape developed in the art of classicism. The classicists interpreted nature as a world subject to the laws of reason.
The French painter Nicolas Poussin, who worked in Italy, became the creator of the heroic landscape. Poussin's paintings, showing the grandeur of the universe, are inhabited by mythological characters, heroes who bring up lofty feelings in the viewer. The artist, who believed that the main goal of art is the education of a person, considered the order and rational structure of the world to be the main value. He painted works with a balanced composition, clearly built spatial plans, and distributed colors according to strict rules. Poussin did not make the public a participant in his paintings. Spectators who looked at his landscapes had to be content with the role of contemplatives, enjoying the image and improving their minds.

N. Poussin. "Landscape with Polyphemus", Hermitage, St. Petersburg

P.P. Rubens. "Landscape with a rainbow", Hermitage, St. Petersburg

P.P. Rubens. Landscape with Castle Sten. Around 1635, National Gallery, London

Emotionally expressive landscapes, which reflected the Baroque traditions, were created by the Italian master of the early 17th century, Alessandro Magnasco. There is nothing idyllic in his paintings. Full of a disturbing feeling, they show the complexity of the world order. On the canvas "Seashore" the viewer sees a chaotic pile of details. Stormy sea waves beat against the shore, on which the artist placed many human figures. These are gypsies, robbers, peasants, hermits, merchants.
It is difficult to understand what these people are doing. The romantic landscape is just as mysterious: a rough sea, trees with curved trunks, gloomy fortresses with towers and high gray cliffs on the horizon.
In the 18th century, the veduta, a kind of landscape genre that emerged in Venetian painting, became widespread. It originates from the urban, or architectural, landscape, the elements of which appeared in the art of the Middle Ages. Remarkable masters of the veduta were Francesco Guardi, Antonio Canaletto, Bernardo Bellotto.
In the 18th century, landscape painting was further developed in the art of France. Antoine Watteau, who was called the "painter of gallant holidays", painted dreamy scenes against the backdrop of wonderful parks. His landscapes, made with delicate and quivering colors, are very emotional, they convey various shades of mood ("Pilgrimage to the Island of Cythera", 1717, Louvre, Paris).

Antoine Watteau, Pilgrimage to Cythera, 1717, Louvre

A prominent representative of Rococo art was the French artist Francois Boucher, who created landscapes full of sensual charm.

François Boucher, Bridge

As if woven from blue, pink, silver shades, they seem to be delightful magical dreams ("Landscape in the vicinity of Beauvais", the Hermitage, St. Petersburg). Boucher studied with another French artist who worked in the Rococo style, Jean Honore Fragonard, whose colorful landscapes, permeated with air and light, convey the freshness of the air, the warmth of the sun's rays, the quivering movement of the foliage on the trees ("Gardens of the Villa d'Este", Wallace collection , London).

Fragonard, Grand Cascade at Tivoli, 1760, Louvre

Joseph Mallord William Turner, The Construction of Carthage, 1815, National Gallery, London

John Constable, Hay Wagon. 1821, National Gallery, London

Theodore Rousseau, The Little Fisherman, 1849

Close to the art of the Barbizons is the painting of Camille Corot, who sought to convey the quivering air environment with the help of valers. Camille Corot was considered his predecessor by the French Impressionists. The plein air landscapes of Claude Monet, Camille Pissarro, Alfred Sisley reflect the deep interest of artists in the changing environment of light and air. The works of the Impressionists show not only rural nature, but also the vibrant and dynamic world of the modern city.

Claude Monet, White water lilies, 1899, Pushkin Museum im. A.S. Pushkin, Moscow

Alfred Sisley, Path on the Shore in the Evening near Sauure in Normandy, 1894, Rouen. Museum of Fine Arts

The modified traditions of the Impressionists were used in their painting by post-impressionist artists. From the standpoint of monumental art, Paul Cezanne represents the majestic beauty and power of nature. The landscapes of Vincent van Gogh are full of a gloomy, tragic feeling. The reflections of the sun on the surface of the water, the quivering of the sea air and the freshness of greenery are conveyed by the canvases of Georges Seurat and Paul Signac, made in the divisionist technique.
In the 20th century, representatives of various artistic movements turned to the landscape genre. Bright, intensely sonorous pictures of nature were created by the Fauvists: Henri Matisse, Andre Derain, Albert Marquet, Maurice Vlaminck, Raoul Dufy and others.

R. Delaunay. "Eiffel Tower", 1926-1928, Solomon Guggenheim Museum, New York

The Cubists (Pablo Picasso, Georges Braque, Robert Delaunay, and others) created their landscapes using dissected geometric shapes. The landscape genre was of interest to surrealist artists (Salvador Dali) and abstractionists (Wasily Kandinsky, Helen Frankenthaler), who wrote decorative compositions in which the main thing is the impression of direct improvisation in the transmission of images of nature.

Salvador Dali, The Persistence of Memory, 1931

V. Kandinsky. "Murnau - mountain landscape with a church", 1910, Lenbach House Museum, Munich

Representatives of realistic trends (Rockwell Kent, George Wesley Bellows, Renato Guttuso) also remained recognized masters of landscape painting in the 20th century.
A special place is occupied by the landscape in Russian painting. For the first time, landscape motifs, transmitted schematically, appeared in ancient Russian icon painting. The figures of Christ, the Mother of God, saints and angels on ancient icons were depicted against the background of a conditional landscape, where low hills marked a rocky area, rare trees, the breed of which could not be determined, symbolized the forest, and buildings, devoid of illusory volumes, were temples and chambers.
The first landscapes that appeared in Russia in the 18th century were topographical views of magnificent palaces and parks. During the time of Elizabeth Petrovna, an atlas of engravings with views of St. Petersburg and its environs was published, made according to the drawings of M. I. Makhaev. But only with the advent of the works of Semyon Fedorovich Shchedrin can we say that the landscape as a separate genre was formed in Russian painting.

Semyon Fedorovich Shchedrin, View of the Gatchina Palace from Silver Lake. 1798. Gouache

Contemporaries of Shchedrin, M.M., made their contribution to the development of the landscape. Ivanov and F.Ya. Alekseev. Alekseev's painting influenced young artists - M.N. Vorobiev, S.F. Galaktionova, A.E. Martynov, who dedicated their art to St. Petersburg: its palaces, embankments, canals, parks.

M.N. Vorobyov, Seaside view in Italy, 1840

M.N. Vorobyov brought up a whole galaxy of remarkable landscape painters. Among them were the brothers G.G. and N.G. Chernetsov, K.I. Rabus and others. A number of wonderful lithographic watercolor landscapes with views of the environs of St. Petersburg were made by A.P. Bryullov, brother of the famous K.P. Bryullov, who later became an architect.

Alexander Pavlovich Bryullov, View of the Castel Sant'Angelo in Rome. 1823-1826

But the works of these masters fade next to the paintings of Sylvester Feodosievich Shchedrin, who captured the bright beauty of Italian nature on his canvases.
By the middle of the 19th century, certain principles of the aesthetic perception of nature and methods of displaying it were formed in Russian landscape painting.
From Vorobyov's school come the romantic traditions adopted by his students. Among them is the early deceased M.I. Lebedev, L.F. Lagorio and I.K. Aivazovsky, whose main theme of art was the sea.

I.K. Aivazovsky, Brig Mercury, after defeating two Turkish ships, meets with the Russian squadron

M.K. Klodt. "On arable land", 1872, Tretyakov Gallery, Moscow

In the second half of the 19th century, such famous artists as I.I. Shishkin, F.A. Vasiliev, A. Kuindzhi, A.P. Bogolyubov, I.I. Levitan.

Shishkin, In the wild north, 1891

Shishkin, Wilderness, 1872

Kuindzhi, Elbrus, 1908

The traditions of the lyrical Levitan landscape were picked up by painters I.S. Ostroukhov, S.I. Svetoslavsky, N.N. Dubovsky.
Landscape painting of the 20th century is associated with the names of I.E. Grabar, A.A. Rylova, K.F. Yuon. In the spirit of symbolist art, P.V. Kuznetsov, N.P. Krymov, M.S. Saryan, V.E. Borisov-Musatov.

A.A. Rylov, Sunset, 1917

K.F. Bogaevsky, Dneprostroy, 1930

N.M. Romadin, Winter Landscape, 1961

With this, I will probably end this short digression, which can be continued indefinitely. Its purpose was to briefly highlight the main directions of the landscape genre, I hope that to some extent I succeeded.

In preparing the message, materials were used http://artclassic.edu.ru/catalog.asp?ob_no=13142&cat_ob_no=13079 , http://www.fondart.ru/history_painting/istorija_pejjzazha/ , http://www.artgorizont.com/articles.php?id_article=1188 ,
http://www.newclassics.ru/reviews/346/ and some others.

And graphics, which is the area, natural or transformed by man.

Depending on the main subject of the image and the nature of nature, within the landscape genre there are: rural and urban landscapes; architectural and industrial landscapes; sea ​​and river landscapes.

Why do artists paint landscapes when it's so easy to take and photograph the natural landscape you like? What is the difference between a picturesque landscape and a photograph of the area?
If a portrait painter depicts a person not only from the outside, so to speak, physical side, but also his inner world, then in the landscape he depicts his inner state, his soul. That is, a picturesque landscape is not only a picture of nature, it is a picture of the inner world of the artist. And in this sense, the landscape is different from photography. When we come to the exhibition, we look at the soul of another person. Looking at the landscape, we see the world through the eyes of an artist.

Ivan Shishkin, for example, wrote out his landscapes to the smallest detail, so you can’t tell them from a photograph. However, this is not the main thing, but the fact that his soul chose this particular species is the state of nature. Therefore, landscape painting is an image of nature with the transfer of the mood evoked by their contemplation.

How many exciting revelations we know about this genre. Let's take only our domestic names - K. Savrasov, K. Korovin, A. Rylov, N. Krymov, A. Plastov, A. Kuindzhi, N. Roerich, I. Aivazovsky and others. They created a wonderful tradition of Russian landscape painting.

The landscape is a direct echo of a person's soul, a mirror of his inner world. Sometimes he solves major problems, embodies the subtlest spiritual collisions. For example, the Impressionists set themselves rather narrow goals - to convey air, light, to capture the flickering of silhouettes. The Russian landscape in its best incarnations has always been primarily a concentration of deep feelings, sharp philosophical ideas.

In Russian landscape painting there are works whose significance in the history of our culture is unusually great! We often say: "Levitan's autumn", "Shishkinsky forest" or "Polenovskiy pond". The images of nature excite all people, giving rise to similar moods, experiences and thoughts in them.

Which of us is not close to the landscapes of Russian painters: "The Rooks Have Arrived" by A. K. Savrasov, "The Thaw" by F. A. Vasiliev, "Rye" by I. M. Shishkin, "Night on the Dnieper" by A. I. Kuindzhi, "Moscow courtyard" by V. D. Polenov, "Above the eternal rest" by I. V. Levitan? We involuntarily begin to look at the world through the eyes of artists who have revealed the poetic beauty of nature. The ability to create an image in a landscape, to convey the most characteristic in a natural phenomenon, is a quality that is distinctive for the Russian landscape school. This quality, perhaps, determines her place in the history of world painting. Russian landscape painters have always set themselves the task of creating a landscape - a painting that, in terms of depth of conception, in terms of the strength of emotional impact, in terms of the amount of "material" for reflection, will not yield to a multi-figured composition.

Landscape painters saw and conveyed nature in their own way. I.K. Aivazovsky also had his favorite motifs, depicting the various states of the sea, ships and people struggling with the elements. His canvases are characterized by a subtle gradation of chiaroscuro, the effect of lighting, emotional elation, an inclination towards heroism and pathos.

Nature, the image of which is presented in the paintings of Russian landscape painters, has nothing to do with an indifferently and thoughtlessly reproduced piece of a field, forest or river for the sake of the "beautifulness" of this or that motive. They always present the artist himself, his feelings, thoughts, his clearly expressed attitude to what he depicts. Taking real objects of the surrounding nature, the landscape painter uses both their composition and color characteristics, intensifying one, muffling the other, in order to create a certain

The term " scenery” in Russian comes from the French “paysage” - “pays” - “country”, “locality”. For example, in English, the term "landscape" comes from the Dutch word "landschap", which originally meant "area", "a piece of land", but acquired the meaning as "a picture of a natural landscape" in the early 1500s. The development of this term in the Netherlands was logical, because this country was one of the first places where it became a popular genre for painters. At this time, the Protestant middle class was growing, its representatives made new demands on art objects. It was the landscape that helped to satisfy these needs.

But this genre still needed to be recognized by the authoritative art academies of Italy and France. Historical painting on classical, religious, mythological and allegorical themes prevailed over all others. Portraits, genre paintings, still lifes, landscapes were at a lower level of the "hierarchy" of genres. Even when landscape became more or less a genre in its own right in the 17th century, it was still used as a secondary subject for biblical, mythological or historical scenes.

17th century considered the birth of the classical landscape. The paintings of this period show the influence of antiquity and the desire to depict an ideal landscape reminiscent of Arcadia - a legendary place in ancient Greece, known for its quiet pastoral beauty, which was written by the Roman poet Virgil.

In a classical landscape, all objects should be in positions where each tree, stone or animal should create a harmonious, balanced and timeless impression. The classical landscape was refined by the French painters Nicolas Poussin and Claude Lorrain. Both artists spent most of their creative lives in Rome, drawing inspiration from views of the Roman countryside. Italy at that time was a favorite place of work for many artists. Poussin, who from an early age devoted his work to history painting, later came to the conclusion that the landscape can evoke the same strong emotions as the human drama in history painting. From that point on, he worked to give the genre of landscape a higher status.

Jacob van Ruisdael. River bank (1649)

Nicholas Poussin. Landscape with two nymphs and a snake (c. 1659)

Claude Lorrain. Landscape with the Abduction of Europa by Jupiter (between 1615 and 1682)

In the XVIII century. Italy continued to be a source of inspiration for landscape painters, while France and England became the new centers of landscape art. But the ideals of the seventeenth century classical Dutch and Italian landscapes were preserved. Although landscapes were gaining popularity, European academies still did not attach much importance to this genre. In particular, the Royal Academy in France is an incredibly powerful organization that sets the standard for the education of painters and the choice of topics for their work.

Pierre-Henri de Valenciennes was able to turn the tide at the end of the 18th century. Like Nicolas Poussin, he worked to convince the Academy and his contemporaries of the dignity of landscape painting. In 1800, he published a book on landscape painting, Elements de perspective practique (literally, "Fundamentals of Perspective Practice"). The book emphasized the importance of the "historical landscape", which should be based on the study of real nature. The next generation of French landscape painters benefited from Valenciennes' efforts. Among them was Jean-Baptiste Camille Corot, whose formation as an artist was largely influenced by the historical landscapes of Valenciennes and travels in Italy.

Pierre-Henri de Valenciennes. Ulysses pleading for Nausicaus' help (1790)

Jean-Baptiste Camille Corot. Recollection of Mortfontaine (1864)

19th century became a new stage in the development of gardening art. The Industrial Revolution changed the traditions of rural life. Throughout Europe and North America, the landscape has taken on a new status. Representatives of the Barbizon school, such as Théodore Rousseau, Charles-Francois Daubigny and others, moved away from idealized, classical landscapes and concentrated on painting from nature, known as plein air painting. In the 19th century landscape photography was born, which significantly influenced the choice of landscape compositions.

Theodor Russo. Market in Normandy (1845-1848)

Charles Francois Daubigny. Harvest (1851)

The French painter Gustave Courbet pushed the boundaries of landscape painting even further. The radical methods of painting and the independent spirit of Gustave Courbet paved the way for the next generation of Impressionist painters. Artists such as Claude Oscar Monet, Camille Pissarro, Auguste Renoir, Alfred Sisley and many others will devote most of their work to plein air painting. The painting of Gustave Courbet, his colors and the structure of the landscape, significantly influenced the work of Paul Cezanne and Vincent van Gogh, as well as many artists of the 20th century.

Gustave Courbet. Storm Wave (1869)

Claude Oscar Monet. Boulevard des Capucines (1873)

Camille Pissarro. Blooming plum tree. Eragni (1894)

August Renoir. Palm Tree (1902)

Alfred Sisley. Bridge at Villeneuve-la-Garenne (1872)

Paul Cezanne. Pool at Jas de Bouffan (1876)

Vincent van Gogh. Pink peach tree. Arles (1888)

At the beginning of the XX century. landscape ceased to be only a genre in the visual arts. Once photography was recognized as an art form, artists were quick to take advantage of it. Also, artists in their conceptual manner were able to convey the dangers of industrialization, the threat of global destruction and environmental disasters. In the second half of the XX century. the definition of landscape included the concept of urban, cultural, industrial landscapes and landscape architecture. Landscape photography continues to evolve. Today, the landscape is a way of conveying an attitude towards the nature that surrounds us, the place where we live, and the human impact on the planet.