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The ukiyo-e style that developed from the 16th century onwards, first in painting and then in coloured woodblock prints that were cheap and widely available, initially concentrated on the human figure, individually and in groups. But from the late 18th century landscape ukiyo-e developed under Hokusai and Hiroshige to become much the best known type of Japanese landscape art.

Reading in a Bamboo Grove, , Japan. The Bridge at Ubi a famous screen composition, found in many 16th or 17th century versions, showing the colourful abstracted style of the professional painters. A scene from the Biography of the Priest Ippen yamato-e scroll, Though there are some landscape elements in earlier art, the landscape tradition of the Persian miniature really begins in the Ilkhanid period, largely under Chinese influence.

Rocky mountainous country is preferred, which is shown full of animals and plants which are carefully and individually depicted, as are rock formations. The particular convention of the elevated viewpoint that developed in the tradition fills most of the vertical format picture spaces with the landscape, though clouds are also typically shown in the sky.

Usually, everything seen is fairly close to the viewer, and there are few distant views. Normally all landscape images show narrative scenes with figures, but there are a few drawn pure landscape scenes in albums. Hindu painting had long set scenes amid lush vegetation, as many of the stories depicted demanded.

Mughal painting combined this and the Persian style, and in miniatures of royal hunts often depicted wide landscapes. Scenes set during the monsoon rains, with dark clouds and flashes of lightning, are popular. Later, influence from European prints is evident. The Persian hero Rustam sleeps, while his horse Rakhsh fends off a tiger.

Probably an early work by Sultan Mohammed , — Khusraw discovers Shirin bathing in a pool, a favourite scene, here from The Mughal emperor Jahangir 's Lion Hunt, c. Jahangir hunting with a falcon, in Western-style country. Most early landscapes are clearly imaginary, although from very early on townscape views are clearly intended to represent actual cities, with varying degrees of accuracy.

Various techniques were used to simulate the randomness of natural forms in invented compositions: the medieval advice of Cennino Cennini to copy ragged crags from small rough rocks was apparently followed by both Poussin and Thomas Gainsborough , while Degas copied cloud forms from a crumpled handkerchief held up against the light.

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Several landscapists are known to have made drawings and watercolour sketches from nature, but the evidence for early oil painting being done outside is limited. The Pre-Raphaelite Brotherhood made special efforts in this direction, but it was not until the introduction of ready-mixed oil paints in tubes in the s, followed by the portable "box easel ", that painting en plein air became widely practiced.

A curtain of mountains at the back of the landscape is standard in wide Roman views and even more so in Chinese landscapes. Relatively little space is given to the sky in early works in either tradition; the Chinese often used mist or clouds between mountains, and also sometimes show clouds in the sky far earlier than Western artists, who initially mainly use clouds as supports or covers for divine figures or heaven.

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Both panel paintings and miniatures in manuscripts usually had a patterned or gold "sky" or background above the horizon until about , but frescos by Giotto and other Italian artists had long shown plain blue skies. The single surviving altarpiece from Melchior Broederlam , completed for Champmol in , has a gold sky populated not only by God and angels, but also a flying bird. A coastal scene in the Turin-Milan Hours has a sky overcast with carefully observed clouds. The monochrome Chinese tradition has used ink on silk or paper since its inception, with a great emphasis on the individual brushstroke to define the ts'un or "wrinkles" in mountain-sides, and the other features of the landscape.

Western watercolour is a more tonal medium, even with underdrawing visible. Traditionally, landscape art depicts the surface of the Earth , but there are other sorts of landscapes, such as moonscapes. Proto- American Modernist associated with Tonalism.

How to paint LANDSCAPES with DEPTH - Atmospheric PERSPECTIVE!

Wassily Kandinsky , Der Blaue Reiter , Der Blaue Reiter , an Expressionist group active from — Fauvism a Modernist movement in Paris active from — Exhibited at the Salon d'Automne. Jean Metzinger , , Coucher de soleil no. From Wikipedia, the free encyclopedia.

Depiction of landscapes in art. For related subjects, see Land art , Earthworks art , landscape architecture , and Landscape photography. See also: Chinese painting. See also: List of National Treasures of Japan paintings.

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See the "Etymology" section at Landscape for further detail and references. See for example Sickmann pp. Bettagno, Alessandro. Current debates on Hispanism.

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Your points will be added to your account once your order is shipped. Click on the cover image above to read some pages of this book! Fill your paintings with spring light, winter scenes, autumn ambiance, summer sunsets, and more! Dramatic Color in the Landscape will help you to discover ways to enliven your paintings with the brilliant color of your favorite seasons while exploring simple yet effective color concepts and ideas evident in everyday and dramatic lighting situations.

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Learn to continually evolve and improve upon your landscape compositions, step by step, with countless helpful tips and techniques designed to help you express your interpretation of any given scene. About the Author Brian Keeler paints landscapes, still life, figures and portraits in oil, pastel and watercolor; his teaching includes giving workshops at various schools and art associations as well as courses at Keystone College.

His work is represented at several galleries and has appeared in feature articles in American Artist magazine and Pastelogram.

ISBN 13: 9781440329326

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