19th C. Landscape Painting

Why did thousands of nineteenth-century artists leave the established urban centers of culture to live and work in the countryside? By 1900, there were over eighty rural artists’ communities across northern and central Europe. This is the first book to offer a critical analysis of this important phenomenon on a Europe-wide basis. Nina Lübbren combines close visual readings of little-known paintings with an innovative multidisciplinary approach, drawing on sociology, geography, and theories of tourism.

Rural artists’ colonies have been unjustly neglected by an art history preoccupied with the urban avant-garde. Yet these communities hatched some of the most exciting innovations of late nineteenth-century painting. Moreover, the practices and images of rural artists articulated central concerns of urban middle-class audiences, in particular the yearning for a nostalgia-imbued life that was considered authentic, premodern, and immersed in nature. Paradoxically, it was precisely this perception that placed artists’ colonies firmly within modernity, mainly through their contribution to an emergent mass tourism.

Eduard Hölzels (1817-1885) Serie der Geographischen Charakterbilder ist ein einzigartiges Projekt an der Schnittstelle zwischen Kunst und Wissenschaft. Hochwertige Ölfarbendrucke nach künstlerischen Vorlagen zeigen ausgewählte geographische Gegenden aus aller Welt.
Am Beispiel dieser Serie sollen die komplexen Zusammenhänge zwischen Wissenschaft, Schulwesen, Museen und Kunst im 19. Jahrhunderts neu betrachtet werden. Hölzels Geographische Charakterbilder sind Zeugnis der Seh(n)sucht des 19. Jahrhunderts nach Bildern. Der rasante wissenschaftliche Fortschritt des 19. Jahrhunderts hatte ein „Defizit an Sichtbarkeit“ erzeugt (Althaus 2018), welches Museen, Schulen und auch Kunst-Verlage zu schließen trachteten.
Hölzels Idee, künstlerische Bildwelten mit wissenschaftlichem Inhalt für den Unterricht, aber auch als Wandschmuck für das bürgerliche Heim zu kreieren, wäre ohne die Einflüsse führender Experten wie jener des Geographie-Professors Friedrich Simony (1813-1896) und des Direktors des neuen Naturhistorischen Museums in Wien (NHMW), Ferdinand von Hochstetter (1829-1884), nicht möglich gewesen. Gerade das von Hochstetter als begehbares Lehrbuch geplante NHMW (Jovanovic-Kruspel & Hoffmann 2019) war für Hölzel mit Sicherheit ein wichtiges Referenz- und Inspirationsprojekt. Künstlerische und auch inhaltliche Überschneidungen zwischen Hölzels Bildserie und dem von Hochstetter geplanten Gemäldefries im NHMW legen nahe, dass hier ein reger Ideenaustausch stattfand. Die didaktisch konzipierten Bildwelten des Museums wirkten dank Hölzels Schulwandtafeln weit über den Besucherkreis des Museums hinaus. Sie erreichten nicht nur die Klassenzimmer des österreichischen Kaiserstaates, sondern auch das bürgerliche Wohnzimmer und prägten dadurch unterbewusst unser kollektives Bild der Welt.

Five years ago, the Ekaterinburg Museum of Fine Arts celebrated our famed countryman Alexey Denisov-Uralskiy’s 150th birthday anniversary with an ambitious exhibition project that united dozens of the master’s works from state collections in one building. That exhibition revealed both the public’s interest towards the artist and stonecutter’s heritage and pieces of art that had been thought to be lost.
A large number of exhibits, which used to form two lifetime expositions of 1902–1904 and 1911 named “Ural and Its Treasures”, are known to the public only due to catalogues compiled by the author and few postcards printed from Prokudin-Gorskiy’s and Golike&Vilborg Partnership’s originals. Reproduction of these images in the jubilee exhibition catalogue has become the starting point of a new exposition.
The catalogue made a Russian art collector from Saint-Petersburg Rifhat Khasanov and the Museum staff meeting. Mr. Khasanov is born in Ural. Once he recognized an image on a postcard; it was “First Snow” by Denisov-Uralskiy from his collection, which the artist painted for his second exhibition in Saint-Petersburg in 1909. A new surge of interest to Denisov-Uralskiy’s art made Rifhat Khasanov return three paintings back to Russia in the next five years.
A study “Hills and Forests” (1909) can also be included in the list of works created for 1911. exposition because the catalogue informed that several studies were displayed.
Two more paintings — “My Boat at the High Woody Coast of the Chusovaya River” and “Visokiy Stone on the Chusovaya River” — were considered irretrievably lost for Russia by the author himself. For after the St. Louis World’s Fair in 1904, works of Russian authors were sold by a dishonourable impresario to US buyers.
The new exposition in the Ekaterinburg Museum of Fine Arts is the first in more than a hundred years chance for the wide audience of Russia to have a look at these four pieces of art

Direction scientifique Jean-Noël Bret et Laure Cahen-Maurel, 23-24 mai 2014, Bibliothèque Départementale des Bouches-du-Rhône, Marseille (France)

Participants : Maria Teresa Caracciolo, Danièle Cohn, Augustin Dumont, Marc Jimenez, Isis von Plato, Julie Ramos, Olivier Schefer, David W. Wood et Laure Cahen-Maurel

Highlighting Frank Lloyd Wright's relationships with contemporary Chicago artists and his collecting of their works in the 1890s, this brief paper contextualizes the architect's search for a new aesthetic vocabulary grounded in local surroundings and suggests that the work of landscape painters provided yet another source for his realization of "organic" architecture.

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

The success of Thomas Moran's The Grand Cañon of the Yellowstone (1872) was linked not only with tourism and Yellowstone Nation Park's foundation but with the national debate about Western development. Formal analysis contrasts Moran's sublime landscape in flux with Bierstadt's and Gifford's depictions of frontier landscapes as habitable wilderness. Although the Northern Pacific Railroad promoted settlement as a reliable source of revenue, the spectacular painting resulting from its support of Moran's 1871 trip to Yellowstone instead showed the limitations of the homesteading model in a mountainous and arid Western landscape more suitable for mining and logging than for farming.

This paper (in German) argues Edmund Burke's Idea of sublime (das Erhabene) with comparing the landscape paintings in the 18th and 19th centuries. It is published in the report of The Institutional Program for Young Researcher Overseas Visits, Kobe University.

Avant-dernière version d'une contribution à l'ouvrage collectif "Einbildungskraft und Reflexion. Philosophische Untersuchungen zu Novalis / Imagination et réflexion. Recherches philosophiques sur Novalis", A. Dumont & A. Schnell (dirs.), Münster/Berlin, LIT-Verlag, 2016, p. 19-39.

ABSTRACT: This article focuses on the apparently paradoxical remarks of Novalis on landscape, which followed the famous “Romantikertreffen” of August 1798: that decisive meeting of the “early German romantics” on the occasion of a communal visit to the painting and sculpture galleries in Dresden. We analyze how Novalis surpasses the phenomenological conception of landscape painting proposed by August Wilhelm Schlegel by resorting to the "incorrect" categories of sculpture and haptic sense to talk about the feeling for nature that governs landscape painting. This is the aesthetics of Herder – his reflections in the treatise “Sculpture” (1778) on the actual concrete and tangible force of the beautiful and the central importance it accords to the experience of one’s own body (a highly modern conception) – which is diverted here in a typical Novalisian gesture that we will show is consistent with his philosophy. The reception of Herder has contributed to the development in Novalis of a Pygmalionic aesthetics of contact with things that casts a different light on early romanticism: it is not only the exclusive exercise of a critical reflexivity that assumes distance, but also of a sensibility that seeks a tactile meeting point as it were between what is separated.

RESUME : L’article s’intéresse aux remarques à première vue paradoxales de Novalis sur le paysage, qui font suite au fameux « Romantikertreffen » d’août 1798 : la rencontre décisive des « premiers romantiques allemands » à la faveur d’une visite commune des Galeries de peinture et de sculpture de Dresde. Nous analysons la manière dont Novalis dépasse la conception phénoménologique de la peinture de paysage proposée par August Wilhelm Schlegel en recourant aux “mauvaises” catégories de la « plastique », donc de la sculpture, et du sens haptique pour parler du sentiment pour la nature qui préside à la peinture paysagère. C’est l’esthétique de Herder — la réflexion du traité « La Plastique » (1778) sur la force proprement concrète et tangible du beau et l’importance centrale (très moderne) qu’elle accorde à l’expérience du corps propre — qui se trouve ici détournée selon un geste typiquement novalissien dont nous montrons la cohérence avec sa philosophie. La réception de Herder a contribué, ce faisant, à la formation, chez Novalis, d’une esthétique pygmalionesque du contact avec les choses qui projette un éclairage différent sur le premier romantisme allemand : il n’est pas l’exercice exclusif d’une réflexivité critique supposant l’écart, mais tout autant celui d’une sensibilité qui cherche la réunion pour ainsi dire tactile de ce qui est séparé.

This research deals with the teaching of landscape painting in Brazil in the 19th century. Although in the European Academies the landscape genre was considered minor compared to that of historical painting, in Brazil there was a difference. Nature has always been valued in Brazil, both by foreigners and by Brazilians. Landscape painting was thus called to represent nationality, and even in historical paintings, nature played a leading role.

Il pittore veronese che, lungamente attivo a Milano, divenne ben presto celebre quanto apprezzato dai collezionisti bresciani del primo Ottocento, come testimoniano i numerosi dipinti conservati presso  I Civici Musei esposti in questa occasione per la prima volta nel loro insieme

This article argues that 1950s American science-fiction films reproduce elements of landscape paintings to evoke the aesthetic experience of the sublime. For example, the arrangement of shots in which monsters dwarf humans is taken directly from eighteenth- and nineteenth-century landscape painting, with monsters replacing vistas. I discuss the philosophical underpinnings in these images and tie them to the atomic bomb. This reading provides an aesthetic analysis of such films, whereas previous scholars have mostly been concerned with reading these images as metaphors.

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

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

Para Humboldt, la función del arte no se limitaba a adornar sus textos sino a convertirse en una guía visual para conocer la naturaleza. Esta tesis realiza un recorrido por dos mundos, el del arte y el de la ciencia, a través de la obra Vistas de las Cordilleras y Monumentos de los Pueblos Indígenas de América. Para ello, la autora analiza la relaciones que Humboldt mantuvo con artistas e ilustradores, redescubriendo tanto a quienes trabajaron bajo su mecenazgo, como aquellos artistas que alcanzaron la fama con su mecenazgo y apoyo, tras seguir sus postulados científicos.

Motyw chmur w malarstwie pejzażowym był dotąd pomijany lub marginalizowany. W dość okrojonych badaniach nad tematem, w których dominują opracowania meteorologiczne i Teoria /obłoku/ Huberta Damischa, brakuje jednak solidnej interpretacji motywu chmur i ich symboliki, szczególnie w malarstwie przełomu XIX i XX wieku. To właśnie w tym okresie bardzo często chmura/obłok staje się samodzielnym tematem pejzaży wielu malarzy europejskich, motyw jest równie popularny w poezji i muzyce. Stosując podział na trzy metody badawcze: „naturalistyczną”, „romantyczną” i „symboliczną”, podjęto tu analizę wybranych obrazów z lat 1820-1920 z zaproponowaniem interpretacji tego motywu. W pracy zastosowano również nowy termin „chmurobraz”/ „chmuromalarstwo” dla określenia przedmiotu badań.

En este trabajo el autor hace un recorrido por la creación del pintor catalán Lluís Rigalt i Farriols y con la ayuda de su obra Ruïnes, investiga la inclusión del dicho artista en la escuela romántica europea. Después de haber comprobado que la historiografía artística actual reconoce al pintor como representante del paisajismo naturalista catalán, y al estudiar su obra tal y como esta se encuentra en los distintos Museos españoles, destaca con vehículo el fondo filosófico del Romanticismo, su pertenencia a dicha escuela artística de destacados pintores como Constable, Gainsborough, Turner y Friedrich, antes que su importancia como pintor paisajista.

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

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

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

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

La figura del pittore e incisore Ludovico Caracciolo (Roma 1761-1842) è stata finora oggetto di diversi sguardi storico-critici che ne hanno, però, definito solo alcuni aspetti, mettendo per lo più in risalto le sue doti di “panoramista” e di divulgatore a stampa del Liber Veritatis di Claude Lorrain. Con questo saggio si vogliono fornire nuovi elementi di conoscenza su Ludovico e di rendere noto l’importante lavoro grafico raccolto in tre album del Fondo Lanciani, miscellanee della sua cinquantennale carriera di disegnatore attestata a partire dal 1790 e durata almeno fino al 1839, alla veneranda età di settantotto anni. Verranno quindi esaminate vicende e cronologie che possono offrire ulteriori informazioni sul vasto impegno grafico dell’artista, con particolare riguardo ai contatti e alle relazioni con l’ambiente artistico e intellettuale di quell’epoca - particolarmente quello anglosassone gravitante a Roma in quegli anni -, e aprire la strada a nuove ricerche sull’ancora sostanzialmente ignota attività pittorica dell’artista.

The painter/engraver Ludovico Caraccíolo (Rome 1761-1842) has been the subject of several historical/critical views that have defined only some aspects, highlighting his gifts mostly as a "panorama artist" and press divulger of Claude Lorrain's Liber Veritatis. This paper would Iike to íntroduce new elements regarding Ludovico, divulging the important graphic work collected in the three albums of the Lanciani Fund, a miscellaneous of his fifty-year career as a certified designer from 1790 up until at least 1839, reaching the venerable age of seventy eight. Situations and chronologíes will then be examined which can offer further information regarding the artist's graphical commitment, particular attention given to the contacts and relations
with the artistic and intellectual environment of the time - especially the Anglo-Saxon which was gravitating in Rome during those years -, and opening up new research on the artist's painting activity, still practically unknown.

In art historical scholarship, inasmuch as he is considered at all, the painter Arkhip Kuindzhi has long been viewed as a peculiar outlier. His landscapes, with their coloristic drama, light effects, and simplified forms, hardly fit the accounts of Russian nineteenth-century painting that focus on the development of the realist school. Questioning the artist’s anomalous status, this essay discusses his canvases from the 1870s and 1880s within the broader framework of nineteenth-century popular visual amusements, discourses on realism, and the physiology of vision. Considered through this wider lens – beyond the institution of easel painting and beyond Russia – Kuindzhi is revealed to be an innovator whose approach to painting was profoundly modern and aligned with the aesthetic preoccupations of many western European artists. His painterly pursuits and exhibition practices, furthermore, force a reconsideration of the biases associated with the established narrative of modern art in the West.

Caspar David Friedrich verfolgt mit seinem Gemälde "Seelandschaft (Der Mönch am Meer)" ein Projekt bildkünstlerischer Selbstreflexion, die durch die Opazität der malerischen Materie erreicht wird. Heinrich von Kleist vollzieht diesen Ansatz in seinem Essay "Empfindungen vor Friedrichs Seelandschaft" nach, profiliert dabei aber die ästhetischen Mittel der Literatur gegenüber jenen der Malerei.

With his painting "Seelandschaft (Der Mönch am Meer)" Caspar David Friedrich pursues a project of iconic autoreflexion which is achieved by the opacity of the pictorial matter. Heinrich von Kleist retraces this approach in his essay Empfindungen vor Friedrichs Seelandschaft, yet emphasizing the aesthetic means of literature opposed to those of painting.

Born in Switzerland, Roquemont lived most of his life in Portugal, dividing his stays and artistic activity, between three cities; Oporto, Guimarães and, occasionally, Lisbon. We will focus our review on Guimarães from the point of view of planning and especially the edified heritage using, as starting point for our analysis three artist paintings representing popular scenes and/or urban landscape, trying to see through them, things which no longer exist, in the same places the artist attended and lived.
Keywords: Guimarães, urbanism, edified patrimony, paintings, transformation.
Nascido na Suíça, Roquemont viverá a maior parte da sua vida em Portugal, dividindo as suas permanências e actividade artística entre três cidades; Porto, Guimarães e, pontualmente, Lisboa. Será sobre a cidade de Guimarães, sob o ponto de vista do urbanismo e, especialmente do património edificado, que iremos focar o nosso estudo usando, como ponto de partida para a nossa análise três quadros do artista representando cenas populares e/ou de paisagem urbana, procurando ver, através deles, aquilo que hoje já não existe nos mesmos locais que o artista frequentou e onde viveu.
Palavras-chave: Guimarães, urbanismo, património edificado, pinturas, transformação.

Este artículo busca entender en qué modos los sentidos interactúan al interior de la teoría de paisaje de Alexander von Humboldt; una teoría que tuvo una enorme importancia para la pintura de paisaje en América Latina durante el siglo xix. Se pondrá especialmente atención a aquellos volúmenes donde el autor explora las posibilidades que el lenguaje escrito tiene para transmitir las experiencias sensoriales vividas en sus viajes, tal como sucede con el volumen "Cuadros de naturaleza". A modo de entender el valor epistemológico que tales referencias tienen para el autor y para su teoría del paisaje, se estudiará también los enunciados teóricos expuestos en su obra magna: Cosmos. Todas estas referencias serán estudiadas en relación a distintos modelos de interac- ción sensorial en boga entre autores cercanos al científico.

essay [composed 2002, notes of 2005]: begins with a close-up of Poussin's colourings in the 'Ordination' painting; segues to discussion of importance of seeing material practice, as against ignoring it in favour of subject-content & the attempt to form  detailed memory of the painting in paintings; segues to comparison with memory of movies.