The history or timeline of the landscape as an art focus as compiled by Katherine Tyrell. Whilst this is simply a link to another blog I have to admit to being able to spend hours at this site - Katherine's work is lengthy and informative. Her site is ranked in the top 25 art blogs in the UK - I'm not surprised.
Landscapes have long been a focus for artists - from Roman times through Renaissance, Impressionism period to Surrealism. Landscapes have been popular the world over - Chinese, Japanese, American and European artists all have portrayed landscapes. Even paintings whose focus is portraying a social comment include landscapes in the background, for example, van Eyck's (c. 1435) Madonna with Chancellor Nicolas Rolin held at the Louvre, Paris, or Titian's The Pastoral Concert (1510). Rubens The Three Graces (mid 1630's) whilst largely a portrait of Chastity, Beauty and Love in the form of three nude females does include a landscape background which frames the figures.
John Constable and Joseph Turner are perhaps the two most well known English landscape artists from the 1800's. Gariff (2008, p. 100) states that "Constable revolutinized the practice of landscape-painting, abandoning artificial, picturesque convention, in favour of a more realistic approach, based on a close study of nature". Of Turner's work he writes "...through technical innovations and experiments with colour and paint application, Turner created pictures that were unique - presaging later modernist concerns with abstraction" (Gariff, 2008, p. 104).
Monet trained in the realist style and experimented with "the changing quality of light, colour and atmosphere" (Gariff, 2008, p. 126) in his paintings. I have always loved the landscape as seen and portrayed by Monet - his use of soft pastel shades and that great sense of outdoor freedom - it is the view he had of life that I am drawn to. He painted true romance - portraying the movement of light with simple, short brushstrokes that covered enormous canvasses. According to Barras Hill (1980) the Impressionists "were interested in how nature actually looked not what it was supposed to look like".
During the Post-Impressionism period, Paul Cezanne abandoned the conventional Renaissance rules of construction: foreground, middle ground and background. According to Barras Hill (1980) Cezanne was publicly abused by the people of Aix for painting their landscape with merging topographical features and intellectual abstraction. Van Gogh's use of swirling line and bold colour gave life to the landscape in a new way.
In the 1930's a European, Rex Battarbee introduced watercolour landscape painting to the Aboriginal people of the Hermannsburg Lutheran Mission, west of Alice Springs. Albert Namatjira was one of the most recognised Aboriginal landscape artists while I was at school in the 1970's. Today Aboriginal landscape art is less influenced by Western eyes and we are able to share in the portrait of the land as viewed by the Australian indigenous people. I first viewed the work of Shane Pickett at the Noosa Regional Gallery and immediately was struck by the power of the form that he is able to portray in his landscape paintings. In particular it was his triptych of the Glasshouse Mountains that inspired me to further research creating and displaying art in this way.
In researching Australian landscape artists I came across the work of Tom Roberts, Hans Heysen, Jeffrey Smart, Russell Drysdale and Grace Cossington Smith. As I viewed their work it occurred to me that I was watching the development of Australia - from life in the bush to streetscapes in towns and construction of iconic structures such as the Sydney Harbour Bridge.Hunter (n.d., p. 12) states that Drysdale's favourite theme was realistic portrayal of landscape and people using an almost surrealistic method to capture "an essential truth". In 1888 Roberts, Conder, Streeton and McCubbin camped together and painted 'en plein air' - it was from this camp that the Heidelberg School emerged (Hunter, n.d., p. 62). It is Fred Williams that I find inspiring for his bold abstract view that looks away from the harsh interior of the country and captures the sea which surrounds it. In his work Lightning Storm, Waratah Bay (1971) Williams has created changes in tone and atmosphere through the bold use of colour and dramatic lines. In contrast, the watercolour work of Conrad Martens provides inspiration to explore this medium in landscape art.
Margaret Preston Margaret Preston first came to my attention following a print making workshop at a Visual Learning and Innovation lecture at CQUni, Noosa in 2010. I am fascinated by her use of colour and indeed her biography - the things that influenced her - Aboriginal spiritual connection with the land and Chinese landscape artists. When I look at 'Rocks in Roper River Valley N.T.' I see two ancient figures, that appear to be keeping watch on the land. Preston uses strong, definite lines and colour to give a dramatic and bold tone to the landscape image.
Margaret Preston 'Rocks in Roper River Valley N.T.' 1953
colour stencil Collection of the National Gallery of Australia ©
Margaret Preston. Licensed by VISCOPY
Contemporary artist Maree Prior : I have worked with Maree on environmental projects in the Cooloola Coast area. I admire her ability to paint the fine detail of botanical species and demonstrate their place in the landscape. She also communicates the environmental message through her ephemeral art and photography.
Other Inspirations
David Hockney
ARK, a work by Sally Spencer is currently on display at the Gympie Regional Gallery. I was fortunate to be at the gallery at the same time as Sally and spoke with her about her installation work. ARK is the result of three years work and represents Sally's "response to the world around and within: climate change, water issues, memories of a flood..." Sally's work made me smile and feel peaceful and safe. The soft curves and muted tones of the clay create a flow within the installation that gives a sense of calm. Her use of a whitewashed, timber boat and soft, sensuous white fabric add to the sense of flow and rhythm of the sea. Also included in the installation is an island of eyes - approximately twenty statues of varying size that each, quite simply, reveal a pair of eyes - the kind of eyes that follow you wherever you are in the room.
In my research on the mineral substance, antimony, I came across a reference to alchemy which sent me on another learning journey. At "The Alchemy Web Site" I discovered contemporary artists influenced by alchemy. In particular I admire the work of Janet Laurence . Her installations include the Federal Government funded "Tomb of the Unknown Soldier" in Canberra and "Edge of the Trees" with Aboriginal Artist, Fiona Foley in 1994. When talking about Australia Laurence states "I realised we still have a life that is strongly entwined with our natural environment. I wanted to bring that out in my work, so I made a conscious decision to make work which was about relating to our environment." Laurence's interest in working with architects to create art in building design spaces is fascinating to me. I feel a real connection to her philosophy and work.
Elixir Echigo bar
Galerie Düsseldorf
Source: http://galeriedusseldorf.com.au/GDArtists/LaurenceJanet/JL2003_04/source/elixir__echigo_.html
Minerals Dispersing
Galerie Düsseldorf
Source: http://galeriedusseldorf.com.au/GDArtists/LaurenceJanet/JL2003_04/source/minerals_dispersing_.html
References
Barras Hill, I. (1980). Painting of the western world: Impressionism. New York City: Galley Press.
Barras Hill, I. (1980). Painting of the western world: Post impressionism. New York City: Galley Press.
Gariff, D. (2008). The world's most influential painters...and the artists they inspired. London: Quarto Publishing plc
Hunter, L. (n.d.). The Australian art companion: A selection of influential artists. Balgowlah, NSW: Reed Books Pty Ltd.
