Landscapes

256 Pages·2012·88.837 MB·English

by  Michel, Émile

Landscapes
Landscapes
ÉÉmmiillee MMiicchheell
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Author: Émile Michel
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ISBN: 978-1-78042-881-9
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Émile Michel
Landscapes
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Contents
Preface 7
The Masters of Landscape Painting in Italy 9
Landscape in the Flemish and German Schools 33
Dutch Landscapists 65
Landscape in the Spanish and French Schools 121
Landscapists of the English School 169
The Masters of Modern Landscape Painting 201
Conclusion 251
Notes 252
Index 253
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Preface
T his book does not claim to be a complete history of Far East. In Japanese albums, particularly in those of Hokusaï, the
landscape painting. The length of such a history would varied subjects are rendered with a lifelike and piquant conciseness.
considerably exceed the proportions of this volume, but I have Except for degrees of dexterity, these somewhat summary sketches,
nevertheless endeavoured to give some idea of the order in which aced with a clever lightness of touch and drawn without models,
the different masters appeared, and of the relative importance of are a result of very similar formulæ. Charming though they are,
each. Having only to speak here of those who excelled, I have tried they lack the individual originality and that rich diversity of feeling
to show, in some sort of sequence, whence these artists came, the that can be appreciated in the European masters. It is to the latter,
special merit of each, and his influence on the development of art. therefore, that we shall confine our study.
This chronological order was imposed by the subject itself. It is also Among these we shall notice many artists who were not exclusively
helpful for the explanation of certain facts. The development of landscapists, and side by side with Claude, J. van Ruisdael,
landscape painting did not take place simultaneously, but by turns in the Constable, Corot, Rousseau, and Daubigny, several great masters,
various schools according to the preoccupations of the various regions, such as Van Eyck, Titian, Dürer, Poussin, Rubens, Rembrandt and
and the genius of the great artists distinguished as its exponents. Velázquez, who practised all branches of art, have their place in
this volume by virtue of the skill with which they interpreted nature
Our study begins with the Renaissance. As the imitation of nature and expressed her beauties. In order to better understand them,
played but a minor part in antiquity, we need not look for masters I have studied these artists both in their works and in the countries
in landscape painting there. In Greece, the anthropomorphism of in which they lived, and have endeavoured to point out any
religion prevailed in art as in literature, and among the statuary of special features peculiar to them and to judge the sincerity of their
the great epoch there is scarcely a fragment of rock or a tree interpretations. It is impossible to thoroughly appreciate Claude
trunk with ivy or vine leaves clinging to it to be found. Although and Poussin without having seen Italy, when, different as was their
landscape painting occupies a fairly important place in the villas style, it becomes evident that the same scenery inspired them both.
of Rome and the Campagna, it always remains purely decorative, It is the same in Holland; at every step one discovers the humble
and the pictorial elements to be found in it seem to be merely subjects of which Van Goyen, J. van Ruisdael, and Van de Velde
accidental. Such work, too, was anonymous, and of a secondary have given us such faithful and poetical representations. By living
order whose facile execution denoted a certain skill: but it does not again with them in the countries where their talent was formed,
compare with that close interpretation of nature in which all details I have more than once come across their favourite haunts, and
are used to enhance the general effect. even the very spot at which they halted.
We shall not attempt to discuss, in this volume, the way in which As regards modern times, it is the uniquely enviable privilege of my
landscape painting has been understood and practised in the age to have come in contact with most of the landscapists who
have been the glory of the nineteenth century school. Some of the
details which I give concerning them, their careers and their ideas,
I have had either from their own lips or from their friends and
Pieter Bruegel the Elder,
acquaintances. But to criticize impartially the artists of one’s own
The Magpie on the Gallows (Peasants “dancing under the gallows”) (detail), 1568.
Oil on panel, 45.6 x 50.8 cm. day, one must not be too near them, and it is for this reason that
Hessisches Landesmuseum, Darmstadt, Germany. this volume deals only with those who are no longer with us.
Canaletto (Giovanni Antonio Canal),
The Porta Portello, Padua(detail), c.1741-1742. Having made frequent comparisons of very dissimilar works, I have
Oil on canvas, 62 x 109 cm.
developed the faculty of admiring the most diverse styles and of
National Gallery of Art, Washington, D.C.
(p. 8-9) recognising talent wherever it is to be found.
7
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Chapter 1
The Masters of Landscape
Painting in Italy
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