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 inner world 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-figure 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 items surrounding nature, the landscape painter uses both their composition and their color characteristics, reinforcing one, muffling the other, in order to create a certain

landscape types

Depending on the nature of the landscape motif, one can single out rural, urban (including urban architectural and veduta), and industrial landscapes. A special area is the image of the sea element - the marina and the river landscape.

Rural landscape aka "village" - This direction of the landscape genre has been popular at all times, regardless of fashion. Artists in the rural landscape are attracted by tranquility, a kind of poetry of rural life, harmony with nature. The house by the river, the rocks, the greenery of the meadows, the country road gave impetus to the inspiration of artists of all times and countries.

The urban landscape is the result of several centuries of development landscape painting. In the 15th century, architectural landscapes became widespread, which depicted views of the city from a bird's eye view. Antiquity and modernity often merged on these interesting canvases, elements of fantasy were present.

An architectural landscape is a kind of landscape, one of the types of perspective painting, an image of real or imaginary architecture in a natural environment. A large role in the architectural landscape is played by a linear and aerial perspective, linking nature and architecture. In the architectural landscape, urban perspective views are distinguished, which were called in the 18th century. vedutami (A. Canaletto, B. Bellotto, F. Guardi in Venice), views of estates, park ensembles with buildings, landscapes with antique or medieval ruins (J. Robert; K. D. Friedrich Abbey in an oak grove, 1809-1810, Berlin, State Museum; S.F. Shchedrin), landscapes with imaginary buildings and ruins (D.B. Piranesi, D. Pannini).

Veduta (it. veduta, lit. - seen) is a landscape that accurately depicts the exact view of the area, city, one of the origins of panorama art. The late Venetian landscape, closely associated with the names of Carpaccio and Bellini, who managed to find a balance between the documentary accuracy of depicting urban reality and its romantic interpretation. The term appeared in the 18th century, when a camera obscura was used to reproduce views. The leading artist working in this genre was A. Canaletto: San Marco Square (1727-1728, Washington, National Gallery). (see appendix fig 1.1.7) Impressionists made a further serious contribution to the development of this trend: K. Monet, Pissarro and others. Further development of this trend was reduced to the search best ways display, color schemes, the ability to display a special "vibration of the atmosphere" characteristic of cities.

The modern urban landscape is not only crowds of people on the streets and traffic jams; it is also old streets, a fountain in a quiet park, sunlight entangled in a web of wires... This direction has attracted and will continue to attract both artists and art connoisseurs all over the world.

Marina (it. marina, from lat. marinus - marine) is one of the types of landscape, the object of which is the sea. Marina took shape as an independent genre in Holland at the beginning of the 17th century: J. Porcellis, S. de Vlieger, V. van de Velle, J. Vernet, W. Turner “Funeral at Sea” (1842, London, Tate Gallery), K. Monet "Impression, Sunrise" (1873, Paris, Marmottan Museum), S.F. Shchedrin "Small Harbor in Sorrento" (1826, Moscow, Tretyakov Gallery). Aivazovsky, like no one else, managed to show a living, light-filled, ever-moving water element. Getting rid of the too sharp contrasts of the classic composition, Aivazovsky eventually achieves genuine pictorial freedom. Bravura - catastrophic "The Ninth Wave" (1850, Russian Museum, St. Petersburg) is one of the most recognizable paintings of this genre.

Painting in the open air (in the open air), mainly landscapes and exteriors.

The landscape can be historical, heroic, fantastic, lyrical, epic.

Often the landscape serves as a background in paintings, graphic, sculptural (reliefs, medals) works of other genres. The artist, depicting nature, not only seeks to accurately reproduce the chosen landscape motif, but also expresses his attitude to nature, inspires it, creates artistic image, which has emotional expressiveness and ideological content. For example, thanks to I. Shishkin, who managed to create a generalized epic image of Russian nature on his canvases, the Russian landscape rose to the level of deeply meaningful and democratic art (Rye, 1878, Ship Grove, 1898).

landscape landscape

(French paysage, from pays - country, locality), a genre of fine art (or individual works of this genre), in which the main subject of the image is wild or, to one degree or another, nature transformed by man. Real or imaginary views of localities, architectural buildings, cities (urban architectural landscape - veduta), sea views (marina), etc. are reproduced in the landscape. Often the landscape serves as a background in picturesque, graphic, sculptural (reliefs, medals) works of other genres. Depicting the phenomena and forms of the natural environment of a person, the artist expresses both his attitude to nature and the perception of it by contemporary society. Because of this, the landscape acquires emotionality and significant ideological content.

Images of nature were found as early as the Neolithic era (symbols of the vault of heaven, luminaries, cardinal points, the earth's surface, the boundaries of the inhabited world). The reliefs and paintings of the countries of the Ancient East (Babylonia, Assyria, Egypt), mainly in the scenes of wars, hunting and fishing, contain individual elements of the landscape, which were especially multiplied and concretized in the ancient Egyptian art of the New Kingdom era. Landscape motifs were widely used in the art of Crete in the 16th-15th centuries. BC e. ( cm. Aegean art), where for the first time the impression of an emotionally convincing unity of fauna, flora and natural elements was achieved. The landscape elements of ancient Greek art are usually inseparable from the depiction of a person; the Hellenistic and ancient Roman landscape, which included elements of perspective (illusionistic paintings, mosaics, the so-called pictorial reliefs), had a somewhat greater independence. This era is characterized by the image of nature, perceived as the sphere of the idyllic existence of man and gods. In the medieval art of Europe, landscape elements (especially views of cities and individual buildings) often served as a means of conditional spaces, constructions (for example, "hills" or "chambers" in Russian icons), in most cases turning into laconic indications of the scene. In a number of compositions, landscape details were formed into speculative theological schemes that reflected medieval ideas about the Universe.

In the medieval art of the countries of the Muslim East, elements of the landscape were initially presented very sparingly, with the exception of rare examples based on Hellenistic traditions. From the XIII-XIV centuries. they occupy an increasingly significant place in the book miniature, where in the XV-XVI centuries. in the works of the Tabriz school and the Herat school, landscape backgrounds, distinguished by the radiant purity of colors, evoke the idea of ​​nature as a closed magical garden. Landscape details in the medieval art of India (especially in miniatures starting from the Mughal school), Indo-China and Indonesia (for example, images of a tropical forest in reliefs on mythological and epic themes) achieve great emotional power. An exceptionally important position is occupied by the landscape as an independent genre in painting. medieval China where the ever-renewing nature was considered the most obvious embodiment of the world law (dao); this concept finds direct expression in the "shan-shui" ("guru-voudy") type of landscape. In the perception of the Chinese landscape essential role poetic inscriptions, symbolic motifs, personifying sublime spiritual qualities (mountain pine, bamboo, wild plum "meihua"), human figures, residing in a space that seems limitless due to the introduction of vast mountain panoramas, water surfaces and foggy haze into the composition, played. Separate spatial plans of the Chinese landscape are not demarcated, but flow freely into one another, obeying the general decorative solution of the picture plane. Among the greatest masters of the Chinese landscape (established as early as the 6th century) are Guo Xi (11th century), Ma Yuan, Xia Gui (both - late 12th - first half of the 13th century), Mu-chi (first half of the 13th century) . Japanese landscape, formed by the XII-XIII centuries. and strongly influenced by Chinese art, it is distinguished by a sharpened graphic (for example, in Sesshu, XV century), a tendency to highlight individual, most advantageous motifs in decorative terms, and finally (in the XVIII-XIX centuries), a more active role of man in nature ( landscapes by Katsushika Hokusai and Ando Hiroshige).

In Western European art of the XII-XV centuries. the tendency towards a sensually convincing interpretation of the world leads to the fact that the landscape background begins to be comprehended as a fundamentally important part of a work of fine art. Conditional (golden or ornamental) backgrounds are replaced by landscape ones, often turning into a wide panorama of the world (Giotto and A. Lorenzetti in Italy in the 14th century; Burgundian and Dutch miniaturists in the 14th-15th centuries; brothers H. and J. van Eyck in the Netherlands; K Witz and L. Moser in Switzerland and Germany in the first half of the 15th century). Renaissance artists turned to the direct study of nature, created sketches and watercolor studies, developed principles for the perspective construction of landscape space, guided by the concepts of the rationality of the laws of the universe and reviving the idea of ​​the landscape as a real human habitat (the latter moment was especially characteristic of the Italian Quattrocento masters). An important place in the history of the landscape is occupied by the work of A. Mantegna, P. Uccello, Piero della Francesca, Leonardo da Vinci, Gentile and Giovanni Bellini, Giorgione, Titian, Tintoretto in Italy, Hugo van der Goes, Gertgen tot Sint-Jans, H. Bosch in the Netherlands, A. Durer, M. Nithardt in Germany, masters of the Danube school in Germany and Austria. In the art of the Renaissance, the prerequisites are formed for the emergence of an independent landscape genre, which initially develops in graphics (A. Durer and the Danube school) and in small pictorial compositions, where the image of nature either constitutes the only content of the picture (A. Altdorfer) or reigns supreme over the foreground scenes ( Dutchman I. Patinir). If Italian artists sought to emphasize the harmonious consonance of human and natural principles (Giorgione, Titian), and embody the idea of ​​​​an ideal architectural environment in urban landscape backgrounds (Raphael), then German masters were especially willing to turn to wildlife, often giving it a catastrophically stormy appearance. The combination of landscape and genre moments, typical for the Dutch landscape, leads to the most striking results in the works of P. Brueghel the Elder, the hallmarks of which are not only the grandiosity of panoramic compositions, but also the deepest penetration into the nature of folk life, organically connected with the landscape environment. In the XVI - early XVII century. by a number of Dutch masters (Herry met de Bles, Josse de Momper, Gillis van Coninxloe) traditional features In the Renaissance landscape, subtle life observations are intertwined with manneristic fantasy, emphasizing the subjective and emotional attitude of the artist to the world.

By the beginning of the XVII century. in the work of the Italian An. Carracci, the Netherlander P. Brill and the German A. Elsheimer, the principles of an "ideal" landscape, subordinated to the idea of ​​a reasonable law, hidden under the external diversity of various aspects of nature, are formulated. In the art of classicism, the system of conditional, stage three-dimensional composition is finally fixed, the fundamental difference between a sketch or sketch and a finished landscape-picture is affirmed. Along with this, the landscape becomes a bearer of high ethical content, which is especially characteristic of the work of N. Poussin and C. Lorrain, whose works represent 2 versions of the "ideal" landscape - heroic and idyllic. In the Baroque landscape (Flemish P. P. Rubens, Italians S. Rosa and A. Magnasco) the elemental power of nature takes precedence, sometimes as if overwhelming a person. Elements of painting from nature, outdoors ( cm. Plein air) appear in the landscapes of D. Velasquez, marked by an extraordinary freshness of perception. Dutch painters and graphics of the 17th century. (J. van Goyen, H. Segers, J. van Ruisdael, M. Hobbema, Rembrandt, J. Vermeer of Delft), developing in detail the light-air perspective and the system of valor shades, combined in their works the poetic feeling of the natural life of nature, its eternal variability , an idea of ​​the greatness of boundless natural spaces with the idea of ​​a close connection between nature and everyday human existence. Dutch masters created diverse types of landscape (including marina and city landscape).

Since the 17th century The topographic landscape is widely distributed (engravers - the German M. Merian and the Czech V. Gollar), the development of which was largely predetermined by the use of the camera obscura, which made it possible to transfer individual motifs to canvas or paper with unprecedented accuracy. This kind of landscape in the XVIII century. flourishes in Canaletto and B. Belotto, saturated with air and light, in opening qualitatively new stage in the history of the landscape, the works of F. Guardi, distinguished by their virtuosic reproduction of the changing light and air environment. Species landscape in the XVIII century. played a decisive role in the formation of the landscape in those European countries where until the XVIII century. there was no independent landscape genre (including in Russia, where the largest representatives of this type of landscape were the graphic artists A.F. Zubov, M.I. Makhaev, the painter F.Ya. Alekseev). A special place is occupied by the graphic landscapes of G. B. Piranesi, who romanticized the ruins, monuments of ancient architecture and endowed them with superhuman grandiosity. The tradition of the "ideal" landscape acquired an exquisitely decorative interpretation in the Rococo era (Landscape depicting the ruins of the Frenchman J. Robert), however, in general, the "ideal" landscape, which occupied (under the name of historical or mythological) a secondary position in the classicist system of genres, during the XVIII in. degenerates into an academic direction, subordinating natural motives to the abstract laws of classic composition. Pre-romantic trends are guessed in the intimate and lyrical park backgrounds in the paintings of A. Watteau, J. O. Fragonard in France, as well as in the work of the founders of the English school of landscape - T. Gainsborough, R. Wilson.

At the end of the XVIII - the first half of the XIX century. tendencies of romanticism predominate in the landscape (J. Krom, J. S. Cotman, J. R. Cozens, J. M. W. Turner in Great Britain; J. Michel in France; K. D. Friedrich, L. Richter in Germany; J. A. Koch in Austria, J. K. K. Dahl in Norway, landscape also played a huge role in the work of F. Goya and T. Géricault). The importance of the landscape in the artistic system of romanticism is explained by the fact that the romantics brought the life of the human soul closer to the life of nature, seeing in a return to the natural environment a means to correct the moral and social imperfections of man. They showed special sensitivity to the individual uniqueness of individual states of nature and the originality of national landscapes. The last features are extremely characteristic of the work of the Englishman J. Constable, who most contributed to the evolution of the landscape to real images that preserve the freshness of the natural study. Generalization, poetic clarity of perception of the world, as well as interest in the problems of the open air are characteristic of the masters who were at the origins of the national schools of European realistic landscapes (early C. Corot in France; partly K. Blechen in Germany; A. A. Ivanov, partly S. F. Shchedrin and M. I. Lebedev in Russia).

Representatives realistic scenery middle and second half of the 19th century. (Corot, masters of the Barbizon school, G. Courbet, J. F. Millet, E. Boudin in France; Macchiaioli in Italy; A. Menzel and partly the Dusseldorf school in Germany; J. B. Jongkind and the Hague school in Holland, etc. ) gradually outlived the literary associativity of the romantic landscape, trying to show their own value of nature through the disclosure of the objective essence of the processes taking place in it. Landscape painters of this period sought naturalness and simplicity of composition (in particular, refusing in most cases panoramic views), developed in detail the light and shade and valor relations, which made it possible to convey the material perceptibility of the natural environment. The ethical and philosophical sound of the landscape, inherited from romanticism, now takes on a more democratic direction, which is also manifested in the fact that people from the people, scenes of rural labor were increasingly included in the landscape.

In the Russian landscape of the XIX century. romantic traditions play a leading role in the work of M. N. Vorobyov and I. K. Aivazovsky. In the second half of the XIX century. the flourishing of the realistic landscape (the foundations of which were laid back in the work of A. G. Venetsianov and especially A. A. Ivanov), closely associated with the activities of the Wanderers. Overcoming the artificiality and theatricality of the academic landscape, Russian artists turned to their native nature (L. L. Kamenev, M. K. Klodt), the motives of which are particularly monumental and epic in scope in the works of I. I. Shishkin. The tendency to depict the transitional states of nature, the lyrical richness characteristic of the work of A. K. Savrasov, acquires a dramatic and intense shade in F. A. Vasiliev. Late romantic trends are manifested in the works of A. I. Kuindzhi, who combined a predilection for strong lighting effects with a decorative interpretation of the picture plane. At the end of the XIX century. the line of the emotional-lyrical landscape, often imbued with the motives of civil sorrow, continues in the so-called mood landscape; such landscapes include the works of V. D. Polenov, marked by soft contemplation, and especially the canvases of I. I. Levitan, who combined intimate psychologism and the subtlest transfer of states of nature with a lofty philosophical interpretation of landscape motifs.

The dominant importance is acquired by the landscape among the masters of impressionism (C. Monet, C. Pissarro, A. Sisley, etc.), who considered working in the open air an indispensable condition for creating a landscape image. The Impressionists made the most important component of the landscape a vibrating light-and-air environment rich in colorful shades, enveloping objects and ensuring the visual indissolubility of nature and man. In an effort to capture the diverse variability of the states of nature, they often created landscape series united by one motif (Monet). Their work also reflected the dynamics of modern urban life, thanks to which the urban landscape gained equal rights with images of nature. At the turn of the XIX and XX centuries. several directions develop in the landscape, developing the principles of the impressionistic landscape and at the same time entering into antagonistic relations with them. P. Cezanne asserted in his works the monumental power and clear constructiveness of natural landscapes. J. Seurat subordinated landscape motifs to strictly adjusted, plane-decorative constructions. V. van Gogh strove for an increased, often tragic, psychological associativity of landscape images, giving individual details of the landscape an almost human animation. In the works of P. Gauguin, close to the landscape of symbolism and distinguished by the sonority of rhythmic local color planes, the image of an idyllic landscape is radically rethought. Artists associated with symbolism and the "modern" style ("nabis" in France, F. Hodler in Switzerland, E. Munch in Norway, A. Gallen-Kallela in Finland) brought into the landscape the idea of ​​a mysterious relationship between man and "mother earth" (hence the types of landscape-dream and landscape-remembrance, popular in this period), beat in their compositions various kinds of "through forms" (branches, roots, stems, etc.), the ornamental layout of which creates the illusion of a direct imitation of rhythms nature itself. At the same time, the search for a generalized image of the homeland, often saturated with folklore or historical reminiscences, and combining the most established features of the national landscape, typical of national-romantic movements, was intensified (the Pole F. Ruschits, the Czech A. Slavichek, the Romanian Sh. Lukyan, the Latvian V. Purvit).

In the art of the XX century. a number of masters strive to find the most stable features of this or that landscape motif, clearing it of everything "transient" (representatives of cubism), others, with the help of jubilant or dramatically intense color harmonies, emphasize the internal dynamics of the landscape, and sometimes even its national identity (representatives of fauvism and relatives masters of them in France, Yugoslavia, Poland, and expressionism in Germany, Austria and Belgium), others, partly under the influence of artistic photography, shift the main emphasis on the quirkiness and psychological expressiveness of the motif (representatives of surrealism). In the work of a number of representatives of these currents, the tendency to deform the landscape image, which often turns the landscape into a pretext for abstract constructions, was a transition to abstract art(landscape played a similar role, for example, in the works of the Dutchman P. Mondrian, the Swiss P. Klee and the Russian V.V. Kandinsky). In the XX century. in Europe and America, the industrial landscape has become widespread, often interpreting the world of technology as a kind of anti-nature, irresistibly hostile to people (C. Demuth, N. Spencer, C. Sheeler in the USA, P. Brüning in Germany). Futurist and Expressionist cityscapes often take on a sharply aggressive or aloof appearance, imbued with moods of tragic hopelessness or melancholy. This feature is also inherent in the work of a number of realist masters (M. Utrillo in France, E. Hopper in the USA). At the same time, a landscape of a realistic and national-romantic nature is rapidly developing, in which images of pristinely beautiful nature often turn into a direct antithesis of capitalist civilization (B. Palencia in Spain, Kjarval in Iceland, the "Group of Seven" in Canada, R. Kent in the USA, A. Namatjira in Australia).

In the Russian landscape at the turn of the XIX-XX centuries. realistic traditions of the second half of the 19th century. intertwined with the influences of impressionism and "modern". Close to the landscape-mood of Levitan, but more intimate in spirit are the works of V. A. Serov, P. I. Petrovichev, L. V. Turzhansky, depicting predominantly modest views, devoid of external showiness and distinguished by the etude immediacy of composition and color. The combination of lyrical intonations with increased sonority of color is characteristic of the work of K. A. Korovin and, in particular, I. E. Grabar. National-romantic features are inherent in the works of A. A. Rylov and landscape-genre compositions of K. F. Yuon; folklore, historical or literary moment plays an important role in A. M. Vasnetsov, M. V. Nesterov, N. K. Roerich, as well as in the "heroic" landscape of K. F. Bogaevsky. In the circle of masters of the "World of Art" type of landscape-memories was cultivated (L. S. Bakst, K. A. Somov), historical and architectural views imbued with elegiac notes arose (A. N. Benois, E. E. Lansere, A. P Ostroumova-Lebedeva), dramatic urban landscape (M. V. Dobuzhinsky). Among the variations on the theme of an surreal landscape-dream in the spirit of V. E. Borisov-Musatov, typical of the Blue Rose artists, the orientalist compositions of P. V. Kuznetsov and M. S. Saryan stand out, as well as paintings by N. P. Krymov, striving for a strict balance of color and compositional solutions. In the landscape of the "Jack of Diamonds" masters, the richness of the color system and the temperamental, free pictorial manner reveal the plastic richness and colorfulness of nature.

For the Soviet landscape, developing in line with socialist realism, the most characteristic images reveal the life-affirming beauty of the world, its close connection with the transformative activity of people. In this area, masters emerged who had developed in the pre-revolutionary period, but after October revolution 1917 entered a new phase of creativity (V. N. Baksheev, Grabar, Krymov, A. V. Kuprin, Ostroumova-Lebedeva, Rylov, Yuon, etc.), as well as artists whose activities are entirely connected with Soviet times(S. V. Gerasimov, A. M. Gritsai, N. M. Romadin, V. V. Meshkov, S. A. Chuikov). In the 20s. the Soviet industrial landscape is emerging (B. N. Yakovlev and others). spiritualized by the pathos of socialist construction, a type of memorial landscape is taking shape (for example, paintings by V.K. Yasnaya Polyana). In the 30-50s. the monumental landscape-picture, based on a thorough rethinking of the etude material, receives predominant distribution. In the works of Soviet landscape painters, the synthetic image of the Motherland increasingly appears through the features of a particular area, due to which even views traditionally associated with the romantic concept of landscape (for example, the landscapes of the Crimea or the Far North) are deprived of a touch of exotic alienation. Artists are attracted by motifs that allow showing the interaction of industrial and natural forms, dynamic shifts in the spatial perception of the world associated with an accelerating pace modern life(A. A. Deineka, G. G. Nissky, P. P. Ossovsky). In the republican schools of the Soviet landscape, the leading role is played by the work of I. I. Bokshay, A. A. Shovkunenko in Ukraine, D. Kakabadze in Georgia, Saryan in Armenia, U. Tansykbaev in Uzbekistan, A. Zhmuydzinavichyus and A. Gudaitis in Lithuania, E .Keats in Estonia. In the 60-80s. the principle of the landscape-picture retains its importance, but the focus is on the heightened expressiveness of texture and color, on naked compositional rhythms that actively affect the audience. Among the most significant Soviet landscape painters who came to the fore in the 50-70s are L. I. Brodskaya, B. F. Domashnikov, E. I. Zverkov, T. Salakhov, V. M. Sidorov, V. F. Stozharov , I. Shvazhas.

Palace in Luoyang. Silk, ink, water colors. 8th c.

I. Vermeer. "View of Delft". Around 1658. Mauritshuis. Hague.

C. Lorrain. "Departure of St. Ursula". 1646. National Gallery. London.

J. Constable. "The Mill in Dedham". Around 1819. Tate Gallery. London.

I. E. Grabar. "Birch Alley". 1940. Tretyakov Gallery. Moscow.

G. G. Nissky. "Moscow region. February". 1957. Tretyakov Gallery. Moscow.

M. K. Avetisyan. "Autumn landscape". 1973. Private collection. Yerevan.
Literature: Fedorov-A. Davydov, Russian landscape of the 18th - early 19th centuries, M., 1953; his, Soviet landscape, M., 1958; his, Russian landscape of the late XIX - early XX centuries, M., 1974; F. Maltsev, Masters of Russian realistic landscape, c. 1-2, M., 1953-59; Masters of the Soviet landscape about the landscape, M., 1963; N. A. Vinogradova, Chinese landscape painting, M., 1972; N. Kalitina, French landscape painting. 1870-1970, L., 1972; Landscape problems in European art XIX in., M., 1978; O. R. Nikulina, Nature through the eyes of an artist, M., 1982; Santini P. S., Modern landscape painting, L, 1972; Pochat G., Figur und Landschaft, B.-N. Y., 1973; Clark K., Landscape into art, L., 1976; Wedewer R., Landshaftsmalerei zwischen Traum und Wirklichkeit, Köln, 1978; Baur Ch., Landschaftsmalerei der Romantik, Münch., 1979; Strisik P., The art of landscape painting, N. Y., 1980.

Source: Popular art encyclopedia." Ed. Field V.M.; M.: Publishing house " Soviet Encyclopedia", 1986.)

landscape

(French paysage, from pays - country, locality), a genre of painting dedicated to depicting nature in all its diversity of forms, shapes, states, colored by the artist's personal perception.

Landscape first appeared as an independent genre in China (c. 7th century). Chinese artists achieved exceptional spirituality and philosophical depth in the landscape. On long horizontal or vertical silk scrolls, they did not write views of nature, but a holistic image of the universe in which a person is dissolved (see Art. Chinese art).

In Western European art, the landscape genre took shape in Holland in the first half. 17th century One of its founders was I. Patinir, a master of panoramic views with small figurines of biblical or mythological characters included in them. H. Averkamp, ​​J. van Goyen, and later J. van Ruisdael, and other artists contributed to the development of the landscape. A large place in the Dutch landscape was occupied by sea views - marinas. To the documentary urban landscape - lead- asked the Italians, especially the Venetian masters. Canaletto represented Venice at the time of its prosperity. Subtle poetic fantasies on the themes of Venetian life were created by F. Guardi. French art of the 17th century the landscape developed in line with the style classicism. Nature, full of powerful and heroic forces, appears in the canvases of N. Poussin; ideal landscapes that embodied the dream of a golden age, wrote K. Lorrain.

The reformer of European landscape painting was made in the beginning. 19th century English artist J. constable. One of the first he began to write sketches in the open air, he looked at nature with an “unbiased look”. His works made an indelible impression on French painters and served as an impetus for the development of a realistic landscape in France (K. Koro and artists barbizon school). Even more complex pictorial tasks were set by the Impressionist artists (K. Monet, O. Renoir, TO. Pissarro, BUT. Sisley and etc.). The play of sun glare on the foliage, faces, clothes of people, the change of impressions and lighting within one day, the vibration of the air and the damp fog were embodied in their canvases. Often, artists created a series of landscapes with one motif (Monet's Rouen Cathedral at different times of the day, 1893-95). In the "sunny" paintings of the Impressionists, for the first time, pure colors, not mixed on the palette, sounded joyfully. The landscapes were painted entirely in open air, from nature.

In Russian art, landscape as an independent genre appeared in con. 18th century Its founders were architects, theater decorators, masters of perspective views. AT Petersburg Academy of Arts landscape painters were brought up in accordance with the principles of classicism. They had to create views of their native nature on the models of famous paintings of the past, and above all the works of Italians of the 17th-18th centuries. Landscapes were “composed” in the workshop, therefore, for example, the northern and damp Gatchina (near St. Petersburg) looked like sunny Italy in the canvases of Semyon Fedorovich Shchedrin (“The Stone Bridge in Gatchina near Connetable Square”, 1799–1800). Heroic landscapes were created by F. M. Matveev, referring mainly to the views of Italian nature (“View of Rome. Colosseum”, 1816). F. Ya. Alekseev with great cordiality and warmth he painted architectural views of the capital and provincial cities of Russia. In Russian landscapes of the 18th century, built according to the rules of classicism, the main “hero” (most often an old architectural structure) was placed in the center; trees or bushes on both sides served as backstage; the space was clearly divided into three plans, and the image in the foreground was solved in brown tones, in the second - in green, in the far - in blue.

Epoch romanticism brings new trends. The landscape is conceived as the embodiment of the soul of the universe; nature, like the human soul, appears in dynamics, in eternal variability. Sylvester Feodosievich Shchedrin, the nephew of Semyon Fedorovich Shchedrin, who worked in Italy, was the first to paint landscapes not in the studio, but in the open air, achieving greater naturalness and truthfulness in the transmission of the light-air environment. The fertile land of Italy, filled with light and warmth, becomes the embodiment of a dream in his paintings. Here it is as if the sun never sets and eternal summer reigns, and people are free, beautiful and live in harmony with nature (“Coast in Sorrento overlooking the island of Capri”, 1826; “Terrace on the seashore”, 1928). Romantic motifs with the effects of moonlight, gloomy poetry of dark nights or the sparkle of lightning attracted M. N. Vorobyov (“Autumn Night in St. Petersburg. Pier with Egyptian Sphinxes at Night”, 1835; “Oak Broken by Lightning”, 1842). During his 40-year service at the Academy of Arts, Vorobyov brought up a galaxy of remarkable landscape painters, among whom was the famous marine painter I.K. Aivazovsky.

In painting, the second floor. 19th century landscape occupied an important place in the work Wanderers. The paintings of A.K. Savrasova(“Rooks Have Arrived”, 1871; “Country Road”, 1873), who discovered the modest beauty of Russian nature and managed to sincerely reveal in his canvases her innermost life. Savrasov became the founder of the lyrical “mood landscape” in Russian painting, the line of which was continued by F.A. Vasiliev(“Thaw”, 1871; “ wet meadow”, 1872) and I.I. Levitan(“Evening Bells”, 1892; “ gold autumn", 1895). I.I. Shishkin, unlike Savrasov, sang the heroic strength, abundance and epic power of the Russian land ("Rye", 1878; "Forest Dali", 1884). His paintings fascinate with the infinity of space, the expanse of the high sky, the mighty beauty of Russian forests and fields. A feature of his pictorial manner was the careful drawing of details, combined with the monumentality of the composition. Landscapes A.I. Kuindzhi amazed contemporaries with the effects of moonlight or sunlight. The expressiveness of widely and freely painted paintings " Moonlight night on the Dnieper" (1880), " Birch Grove» (1879) is based on exactly found light and color contrasts. V.D. Polenov in the paintings "Moscow Courtyard" and "Grandmother's Garden" (both - 1878) he subtly and poetically conveyed the charm of life in the old "noble nests". His works are painted with barely perceptible notes of sadness, nostalgia for the outgoing culture.

At the turn of the 19th-20th centuries. K. A. Korovin(“Paris Cafe”, 1890s) and I.E. Grabar(“February Blue”, 1904) wrote views of nature in the spirit impressionism. P.V. Kuznetsov, K. S. Petrov-Vodkin, K.F. Bogaevsky, M.S. Saryan and others created landscapes that take the viewer into the world of dreams about distant lands untouched by civilization, about bygone great eras. Masters of Soviet art continued the great traditions of their predecessors. A new genre of industrial landscape appeared, which vividly reflected the life-affirming pathos of the era (B. N. Yakovlev, G. G. Nissky, P. P. Ossovsky and others). In con. 20 - early. 21st century the landscape still attracts painters of different generations (N. M. Romadin, N. I. Andronov, V. F. Stozharov, I. A. Starzhenetskaya, N. I. Nesterov and etc.)

The theme of the landscape as a genre of fine art is the area. From French, the word "landscape" is translated as "area, country." After all, the landscape is not only the image of nature familiar to us. The landscape can also be urban (architectural, for example). In the urban landscape, a documented accurate image is singled out - “leading”.

And if we talk about the natural landscape, then here they are distinguished separately seascape, which is called "marina" (respectively, artists depicting the sea are called "marine painters"), cosmic (image of heavenly space, stars and planets).
But landscapes also differ in terms of time: modern, historical, futuristic landscapes.
However, in art, whatever the landscape (real or fictional) is, it is always an artistic image. In this regard, it is important to understand that for each artistic style(classicism, baroque, romanticism, realism, modernism) is characterized by its own philosophy and aesthetics of the landscape image.
Of course, the landscape genre developed gradually - just as science developed. It would seem that what is common between landscape and science? A lot in common! To create a realistic landscape, one must have knowledge of linear and aerial perspective, proportionality, composition, chiaroscuro, etc.
Therefore, the landscape genre is considered a relatively young genre in painting. For a long time, the landscape was only an "auxiliary" means: nature was depicted as a background in portraits, icons, and genre scenes. Often it was not real, but idealized, generalized.
And although the landscape began to develop in ancient Eastern art, it received independent significance in Western European art starting around the 14th century.
And it would be very interesting to understand why this happened. Indeed, by this time, a person already knew how to quite correctly depict abstract ideas, his appearance, his life, animals in graphic symbols, but he remained indifferent to nature for a long time. And only now is he trying to understand nature and its essence, because to portray - you need to understand.

Development of the landscape in European painting

Interest in the landscape becomes clearly visible, starting with the painting of the Early Renaissance.
Italian artist and architect Giotto(circa 1267-1337) developed a completely new approach to depicting space. And although in his paintings the landscape was also only an auxiliary means, he already carried an independent semantic load, the flat, two-dimensional space of the icon Giotto turned into three-dimensional, creating the illusion of depth using chiaroscuro.

Giotto "Flight into Egypt" (Church of San Francesco in Assisi)
The painting conveys the idyllic spring mood of the landscape.
The landscape began to play an even more important role in the High Renaissance (XVI century). It was during this period that the search began for the possibilities of composition, perspective, and other components of painting to convey the surrounding world.
The masters of the Venetian school played an important role in creating the landscape genre of this period: Giorgione (1476/7-1510), Titian (1473-1576), El Greco (1541-1614).

El Greco "View of Toledo" (1596-1600). Metropolitan Museum of Art (New York)
The Spanish city of Toledo is depicted under a gloomy stormy sky. The contrast between heaven and earth is obvious. The view of the city is given from below, the horizon line is raised high, phantasmagoric light is used.
In creativity Pieter Brueghel (the Elder) the landscape is already gaining breadth, freedom and sincerity. He writes simply, but in this simplicity one can see the nobility of the soul, able to see the beauty in nature. He knows how to convey both the petty world under his feet, and the vastness of fields, mountains, skies. He has no dead, empty places - everything lives with him and breathes.
We bring to your attention two paintings by P. Brueghel from the cycle "The Seasons".

P. Brueghel (the Elder) "Return of the herd" (1565). Kunsthistorisches Museum (Vienna)

P. Brueghel (the Elder) "Hunters in the snow" (1565). Kunsthistorisches Museum (Vienna)
In the paintings of the Spanish artist D. Velazquez already seen the emergence of plein air ( plein air- from fr. en plein air - "in the open air") of 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.

D. Velasquez "View of the garden of the Villa Medici in Rome" (1630)
Rubens(1577-1640), life-affirming, dynamic, characteristic of the work of this artist.

P. Rubens "Landscape with a rainbow"
By a French artist Francois Boucher(1703-1770) landscapes seem to be woven from blue, pink, silvery shades.

F. Boucher "Landscape with a water mill" (1755). National Gallery (London)
Impressionist artists sought to develop methods and techniques that would allow them to most naturally and vividly capture the real world in its mobility and variability, to convey their fleeting impressions.

Auguste Renoir "The Frog". Metropolitan Museum of Art (New York)
The Post-Impressionist painters developed the Impressionist tradition in their painting.

Vincent Wag Gogh Starlight Night» (1889)
In the XX century. the landscape genre was addressed by representatives of various artistic directions: Fauvists, Cubists, Surrealists, Abstractionists, Realists.
Here is an example of a landscape by an American artist Helen (Helen) Frankenthaler(1928-2011), who worked in the style of abstract art.

Helen Frankenthaler "Mountains and Sea" (1952)

Some types of landscape

architectural landscape

N.V. Gogol called architecture the “chronicle of the world”, because she, in his opinion, "speaks even when both songs and legends are already silent ...". Nowhere is the character and style of time manifested so vividly and clearly as in architecture. Apparently, therefore, the masters of painting captured the architectural landscape on their canvases.

F. Ya. Alekseev “View of the Stock Exchange and the Admiralty from Peter and Paul Fortress» (1810)
The painting depicts the Spit of Vasilyevsky Island. composition center its architectural ensemble is the Stock Exchange building. In front of the Stock Exchange there is a semicircular square with a granite embankment. On its two sides there are columns that served as lighthouses. At the foot of the columns there are stone sculptures symbolizing the Russian rivers: Volga, Dnieper, Neva and Volkhov. On the opposite bank of the river, Winter Palace and buildings of the Admiralty, Senate Square. The construction of the Exchange, designed by Thomas de Thomon, lasted from 1804 to 1810. When Pushkin arrived in St. Petersburg in 1811, the Exchange had already become the architectural center of the Spit of Vasilevsky Island and the busiest place in the port city.
A kind of architectural landscape is the veduta. Strictly speaking, this landscape of F. Alekseev is the lead.

Veduta

Veduta is a genre of European painting, especially popular in Venice of the 18th century. It is a painting, drawing or engraving depicting a detailed depiction of an everyday urban landscape. Yes, the Dutch artist Jan Vermeer depicted accurately his native city of Delft.

Jan Vermeer "View of Delft" (1660)
Veduta masters worked in many European countries, including Russia (M. I. Makhaev and F. Ya. Alekseev). A number of leads with Russian views were performed by Giacomo Quarenghi.

Marina

Marina - a genre of painting, a kind of landscape (from lat. marinus - sea), depicting a sea view or a scene of a sea battle, as well as other events taking place at sea. As an independent type of landscape painting, the marina stood out at the beginning of the 17th century. in Holland.
Marine painter (fr. mariniste) - an artist who paints marinas. The brightest representatives of this genre are the English William Turner and Russian (Armenian) artist Ivan Constantinovich Aivazovski, who wrote about 6,000 paintings on the marine theme.

W. Turner ""The last voyage of the ship" Courageous ""

I. Aivazovsky "Rainbow"
A rainbow that has appeared in a stormy sea gives hope for the rescue of people from a shipwrecked ship.

historical landscape

Everything in it is quite simple: to show the past through the historical setting, natural and architectural environment. Here we can remember the pictures N.K. Roerich, images of Moscow in the 17th century. A.M. Vasnetsov, Russian baroque XVIII in. HER. Lansere, A.N. Benoit, archaic K.F. Bogaevsky and etc.

N. Roerich "Overseas guests" (1901)
This is a picture from the cycle “The Beginning of Russia. Slavs". In the article “On the way from the Varangians to the Greeks” (1899), Roerich described an imaginary poetic picture: “Midnight guests are floating. A light stripe stretches the gentle coast of the Gulf of Finland. The water seemed to be saturated with the blue of a clear spring sky; the wind ripples along it, driving off dull purple stripes and circles. A flock of seagulls landed on the waves, carelessly swayed on them, and only under the very keel of the front boat flashed their wings - something unfamiliar, unprecedented, aroused their peaceful life. A new stream makes its way through stagnant water, it runs into centuries-old Slavic life, passes through forests and swamps, rolls over a wide field, raises the Slavic clans - they will see rare, unfamiliar guests, they marvel at their strictly military, at their overseas custom. The rooks go in a long row! Bright coloring burns in the sun. The bow sides famously wrapped up, culminating in a high, slender nose.

K. Bogaevsky "Consular Tower in Sudak" (1903). Feodosia Art Gallery named after I.K. Aivazovsky

Futuristic (fantastic) landscape

Paintings Belgian artist Jonas De Ro are epic canvases of new, unknown worlds. The main object of Jonas's image is vast pictures of the post-apocalyptic world, futuristic, fantastic images.
In addition to the future of absolutely real cities, Jonas also draws completely original illustrations of an abandoned city.

J. De Ro "Abandoned Civilization"

Philosophy of the landscape

What is it?
At the center of landscape painting is always the question of the relationship of man to the environment - whether it be a city or nature. But also environment also has its relation to the person. And these relationships can be harmonious and inharmonious.
Consider the landscape "Evening Bells".

I. Levitan "Evening Bells" (1892). State Tretyakov Gallery (Moscow)
The painting “Evening Bells” depicts a monastery at a bend in the river and illuminated by the evening sun. The monastery is surrounded by an autumn forest, clouds float across the sky - and all this is reflected in the mirror surface of a calmly flowing river. The bright joy of nature is merged in harmony, and peace of mind life and feelings of people. I want to look at this picture and look, it calms the soul. It is a blissful, idyllic beauty.
And here is another landscape by the same artist - "Above Eternal Peace."

I. Levitan "Over Eternal Peace" (1894). State Tretyakov Gallery (Moscow)
Levitan himself wrote about this picture: "... I am all in it, with all my psyche, with all my content ...". In another letter: "Eternity, formidable eternity, in which generations have drowned and more will drown ... What horror, what fear!" It is about this formidable eternity that the picture of Levitan makes you think. Water and sky in the picture capture, amaze a person, awaken the thought of the insignificance and transience of life. On a steep high bank stands a lonely wooden church, next to a cemetery with rickety crosses and abandoned graves. The wind shakes the trees, drives the clouds, pulls the viewer into the endless northern expanse. The gloomy grandeur of nature is opposed only by a tiny light in the window of the church.
The artist, perhaps, wanted to answer with his painting the question of the relationship between man and nature, the meaning of life, contrasting the eternal and mighty forces of nature with the weak and short-term human life. This is sublime tragedy.

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

Translated from french word"landscape" (paysage) means "nature". This is how the genre is called in the fine arts, the main task of which is the reproduction of natural or man-altered nature.
In addition, the landscape is a concrete piece of art in painting or graphics, 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 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, made with a workshop for that time, the transfer of perspective.
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 this 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 clearest example of this is famous portrait 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 the others artistic genres. This was facilitated by the development 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

The masters of the Venetian school played an important role in the creation of the landscape genre. The first artist who attached great importance to the landscape was Giorgione, who worked at the beginning of the 16th century. Nature is the main character in his painting The Thunderstorm (c. 1506-1507, Accademia Gallery, Venice). The landscape on this canvas is no longer so much the environment in which a person lives, but rather the bearer of feelings and moods. "Thunderstorm" invites the viewer to immerse themselves in the world of nature, listen carefully to his voices. The emotional beginning comes to the fore in the picture, calling for contemplation, penetration into the poetic world created by the master. The coloring of the picture makes a huge impression: deep, muted colors of greenery and earth, lead-blue shades of sky and water, and golden-pink tones of city buildings.
In other paintings by Giorgione, the landscape plays an equally important role. The idea of ​​the unity of man and nature was reflected in such works by the master as "Three Philosophers" (1507-1508, Museum of the History of Art, Vienna) and "Sleeping Venus" (1508, Picture gallery, Dresden). In the last composition, the sleeping young woman seems to personify the delightful Italian nature, penetrated by the hot southern sun.

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

Giorgione had a significant influence on Titian, who later headed the Venetian school. Titian played a big role in the formation of all genres of European landscape painting. The famous artist did not disregard the landscape. Majestic images of nature appear on many of his canvases. Shady groves are delightful, in which powerful trees shield the traveler from the scorching sun. Among the thick grass, figures of shepherds, domestic animals and wild animals are visible. Trees and plants, people and animals are the children of a single world of nature, beautiful and majestic. Already in Titian's early canvas "Flight to Egypt" (Hermitage, St. Petersburg), the image of nature in the background overshadows the sad scene of the flight of the Holy Family to Egypt.

Titian. "Flight to Egypt", Hermitage, St. Petersburg

The traditions of the Venetian school are reflected in the paintings of the Spanish artist El Greco. Greek by origin (real name - Domenikos Theotokopoulos), he left his homeland, Cyprus, and went to Venice, and then settled in Spain. Among the most famous paintings master - landscape "View of Toledo" (1610-1614, Metropolitan Museum of Art, New York). El Greco very emotionally and vividly conveys nature at the time of a thunderstorm. Leaden clouds rush across the sky, illuminated by flashes of lightning. The frozen silver-gray city with houses, towers, churches seems like a fabulous vision in the mysterious phosphorescent light. The intense drama that permeates the canvas helps the artist convey to the viewer his idea of ​​​​the confrontation between earthly and heavenly forces.

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

In Northern Europe in the 16th century, the landscape also won a strong position in painting.
Images of nature occupy an important place in the work of the Dutch artist Pieter Brueghel the Elder. In the paintings dedicated to the seasons, the master showed the harsh northern landscapes in a heartfelt and poetic way. All of Brueghel's landscapes are animated by the figures of people engaged in everyday activities. They mow grass, reap rye, drive herds, hunt. The calm and unhurried rhythm of human life is also the life of nature. With his work, Brueghel seems to be trying to prove that the sky, rivers, lakes and seas, trees and plants, animals and man are all particles of the universe, one and eternal.

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 flourishing Dutch painting and all its genres, the most common of which is landscape.
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

Canals with sailing boats, flat landscapes, windmills, dense forests, snow-covered villages, city streets with stone houses and squares - all these signs tell the viewer that he is in front of a real Dutch landscape.
Full of lyrical feeling and poetic charm, the paintings depict the surrounding world at different times of the year and at different hours of the day. But still, most of these landscapes convey nature in moments of calm, when low clouds slowly float above the earth, shrouded in a humid, foggy atmosphere, and the sun's rays, breaking through the clouds, easily fall on the water of canals, tree branches, roofs of buildings.
Most Dutch landscapes are characterized by a muted coloration, consisting of light silver, olive-ocher, brownish hues, close to the natural colors of nature. Laid onto the canvas with fine, precise strokes, these colors convincingly and realistically convey the materiality of the surrounding world.
Jan van Goyen, the founder of the realistic landscape in Dutch painting, as well as another Dutch landscape painter, Philips Koninck, showed heather dunes, banks and river backwaters, trees, windmills, swamps, canals, sea expanses with great certainty.

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 landscape with animal genre. His paintings delight the viewer with their rich and sonorous colors.

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

The famous Dutch genre painter Jan Vermeer of Delft also showed interest in depicting nature. There are only two landscapes in his extensive creative heritage, but even in them he managed to show his greatest skill. A wonderful city, washed by rain and illuminated by timid rays of the sun, is presented on the colorful canvas "View of Delft" (before 1660, Mauritshuis, Amsterdam). A quiet corner of the city is depicted in the landscape "Street" (before 1660, Rijksmuseum, Amsterdam). Using a simple motif, Vermeer managed to give his landscape, executed in a range of brick-red shades, deep content and significance. It is striking with what skill the artist managed to combine in his paintings the thoroughness in depicting all the details with the virtuoso transmission of the light-air atmosphere.
In the 17th century, one of the varieties of the landscape genre, the marina, became widespread in Holland. In the country of sailors and fishermen, the seascape was a huge success. Among the best marine painters are V. van de Velde, S. de Vlieger, J. Porsellis, J. van Ruisdael. The latter became famous not only for its sea views, but also for paintings depicting plains, mills along the banks of rivers, villages among the dunes.

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

Within the framework of classicism, Claude Lorrain developed the concept of an idyllic landscape. His paintings are imbued with the spirit of perfect harmony. The artist so skillfully builds plans - ancient monuments, ancient ruins, trees with dense crowns, that there is enough space on the canvas to convey the wide expanses of sea, land and air distances. And if in the paintings of Poussin mythological heroes are located in the center of the composition, then in the works of Lorrain they are only staffing figures.
Nature appears differently on the canvases of baroque masters. Unlike the classicists, they strive to convey the dynamics of the surrounding world, the turbulent life of the elements. Thus, the landscapes of the Fleming Peter Paul Rubens convey the power and beauty of the earth, affirm the joy of being, instilling in the audience a sense of optimism. All of the above can be attributed to his "Landscape with a Rainbow" (Hermitage, St. Petersburg), in which the master captured expanses leaving the horizon, high hills and majestic trees, a valley with sprawling villages, shepherds and shepherds, herds of cows and sheep. The magnificent landscape is crowned with a rainbow sparkling with delicate colorful hues.

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, created italian master early 17th century by 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 became widespread - a kind of landscape genre that was formed in Venetian painting. 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

A new attitude to nature appeared in art in the second half of the 18th century. In the landscape painting of the Enlightenment, not a trace of the former idyllic conventionality of rocaille art remained. The artists tried to show the viewer nature elevated to an aesthetic ideal. Many painters who worked during this period turned to antiquity, seeing in it the prototype of individual freedom. majestic ruins ancient rome recreate paintings by Hubert Robert. Like other landscape painters of his time, Robert combined reality and fiction in his compositions.
Based on field observations, sea storms and the ports of Claude Joseph Vernet, with their bright lighting effects, delighted 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. The brightest representatives of the romantic landscape in England were Joseph Mallord William Turner and John Constable, in Germany - Caspar David Friedrich.

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

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

The beauty of simple rural nature was opened to the viewer by French landscape painters - representatives of the Barbizon school: Theodore Rousseau, Jules Dupre and others.

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 positions monumental art represents the majestic beauty and power of nature by Paul Cezanne. 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.
To mid-nineteenth centuries in Russian landscape painting, certain principles of the aesthetic perception of nature and methods of displaying it were formed.
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, main theme whose art was the sea.

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

A special place in Russian painting is occupied by the work of A.K. Savrasov, who became the founder of the national lyrical landscape. Savrasov influenced his student and friend, the landscape painter L.L. Kamenev.
In parallel with the lyrical direction in Russian landscape painting, an epic landscape developed, prominent representative which was M.K. Klodt, who strove to create a landscape-picture that presents the viewer with a holistic image of Russia.

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

Levitan, At the pool, 1892

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

In the 1920s, the industrial landscape developed (interest in this variety of the landscape genre is especially noticeable in the work of M.S. Saryan and K.F. Bogaevsky).

K.F. Bogaevsky, Dneprostroy, 1930

Expressive and impressive images of native nature were also created by landscape painters G.G. Nissky, S.V. Gerasimov, N.M. Romadin and others.

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.