Ideal landscape vs. 'realistic landscape'
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| + | In landscape painting, a difference is made between an '''ideal landscape''' and a '''realistic landscape.''' | ||
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| + | During the time of [[Jean-Baptiste-Camille Corot]], [[landscape painting]] was on the upswing and generally divided into two camps: one―[[historical landscape]] by [[Neoclassicists]] in [[Southern Europe]] representing idealized views of real and fancied sites peopled with ancient, mythological, and [[biblical figure]]s; and two―[[realistic landscape]], more common in [[Northern Europe]], which was largely [[faithful]] to actual [[topography]], [[architecture]], and [[flora]], and which often showed figures of [[peasants]]. In both approaches, [[landscape artists]] would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors. Highly influential upon French landscape artists in the early 19th century was the work of Englishmen [[John Constable]] and [[J.M.W. Turner]], who reinforced the trend in favor of [[Realism]] and away from [[Neoclassicism]]. | ||
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| [[Claude Lorrain]] practised a genre called the '''ideal landscape''', where a composition would be loosely based on nature and dotted with [[classical ruins]] as a setting for a biblical or historical theme. It artfully combined landscape and [[history painting]], thereby legitimising the former. It is synonymous with the term ''[[historical landscape]]'' which received official recognition in the Académie française when a [[Prix de Rome]] for the genre was established in [[1817]]. | [[Claude Lorrain]] practised a genre called the '''ideal landscape''', where a composition would be loosely based on nature and dotted with [[classical ruins]] as a setting for a biblical or historical theme. It artfully combined landscape and [[history painting]], thereby legitimising the former. It is synonymous with the term ''[[historical landscape]]'' which received official recognition in the Académie française when a [[Prix de Rome]] for the genre was established in [[1817]]. | ||
| ==See also== | ==See also== | ||
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In landscape painting, a difference is made between an ideal landscape and a realistic landscape.
During the time of Jean-Baptiste-Camille Corot, landscape painting was on the upswing and generally divided into two camps: one―historical landscape by Neoclassicists in Southern Europe representing idealized views of real and fancied sites peopled with ancient, mythological, and biblical figures; and two―realistic landscape, more common in Northern Europe, which was largely faithful to actual topography, architecture, and flora, and which often showed figures of peasants. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors. Highly influential upon French landscape artists in the early 19th century was the work of Englishmen John Constable and J.M.W. Turner, who reinforced the trend in favor of Realism and away from Neoclassicism.
Claude Lorrain practised a genre called the ideal landscape, where a composition would be loosely based on nature and dotted with classical ruins as a setting for a biblical or historical theme. It artfully combined landscape and history painting, thereby legitimising the former. It is synonymous with the term historical landscape which received official recognition in the Académie française when a Prix de Rome for the genre was established in 1817.
See also
