The Role of the Visual Artist in Society – Modernism

Posted on January 12, 2015 by Mark Mitchell

The role of the artist has changed significantly throughout time. Once upon a time, art was used primarily to entertain and decorate; to make a living as an artist was at the hands of a patron, as they would have the control about what was depicted and what was fashionable.

Now, however, in a post modern art world which includes anything from landscape art to still life paintings to installations, sculptures, drawings, and, any other form of art – the role of the artist isn’t set in stone and varies regularly.

George Weissbort – In the Studio: a Break for Pepsi

The Modernist Movement:

But how did we get from a time when art was reserved for only the highest members of society to today when art can be made, appreciated by us all?

In this blog we’re going to take a look at the role of the artist in the Modernist Movement; which of course what incredibly varied.

Social Commentators

Artists throughout time have created paintings that act as a social commentary and can even be a inciter of social change. Many Modernist artists were in fact members of political groups and were inspired by the radical social movements of 1968 – especially in France. Art is a fantastic medium to bring issues to light in society encouraging discussion and conversations – even cross-cultural understanding.

Art for Change

 

Frida kahlo – Self Portrait 

Pre-modernism, art was more exclusive to the upper classes; it was certainly a luxury to have pieces of art in your home. Modernism was when this began to change; art was created as a revolution; to challenge society and its norm. The art world had been dominated wholly by males; female art was seen more as a past-time and a hobby, until the feminist movement took hold. Female artists such as Mexican Surrealist, Frida Kahlo (above) paved the way to make art more equal.

Entertain, Please & Explore Emotion

Despite the revolution of the Modernist era, art created in that time was not wholly to inspire social change. Art was also created to entertain, please, and, of course, explore emotion – this is particularly the case when looking towards to the Abstract Expressionists. This movement included the experimentation of paint, colour and its emotional properties.

Mark Rothko – Light Red Over Black – The Tate Gallery

Documenting History

Art has and will always be a way to document history. The modernist movement was full of sub-genres and collectives, because of this, our modern history has been well documented. The beauty of art is that is not only provides realistic representations of what the world looks like, but feelings, emotions and opinions too – it has a power that science certainly does not. Art is a way to explore past cultures.

Conclusion: The Ever-Expanding Role of the Artist

The role of the artist continues to change, grow and expand. It remains an incredibly important part of society. The word ‘artist’ can refer to so many different things from social activist, commentator to graphic designer, illustrator and of course, the traditional painter. Art means many different things to different people; therefore, an artist’s role is just as versatile as the definition of art itself.

Posted in Art Theory | Leave a comment

The Depiction of Water in Art

Posted on January 8, 2015 by Mark Mitchell

In landscape paintings, water is often a main focus or at least a featured factor – especially in coastal paintings, and, of course, marine art. Water has been represented and stylised in many different ways throughout the history of art.

There is something about water that draws us to it; it has a sort of power that has a mysterious hold on us; this earthly element has attracted the attention of artists throughout time, and continues to do. Why is this and what do the various depictions of water do for a painting?

Aesthetic Focus & Composition

In landscape paintings, water is often seen at the foreground of the scene, say in front of a mountain, often it provides the viewer with a focus and works as a tool to draw the attention of the viewer into the painting itself.

A lake, pond or bay will also add another visual element to the piece, allowing the piece to be split creating various areas of interest – especially if the artist is creating the work of art with the rule of thirds.

Fergus O’Ryan – The Liffey at Sally Gap

In the painting above by the artist; Fergus O’Ryan, water is central to the composition, it is the first aspect of the painting that you notice before taking in the entirety of the scene, and then noticing the trees on the right and the rolling hills in the distance. The style of the piece is fairly painterly, yet representational, which certainly adds a lively feeling to the piece and enhances the rushing movement of the waters. The river in this painting certainly provides a certain energy; if it didn’t exist in the piece, it would have a completely different energy indeed.

In many paintings water is depicted simply for compositional value; it allows the artist to paint using different textures and provides an aesthetical focus for the viewer.

Aquatic Symbolism

Of course, water isn’t only a feature in art to be purely representative; water can also be symbolic, especially when featured in still life paintings or figurative paintings, as it the composition will have been entirely manufactured by the artist.

In both literature and art, water is considered the universal symbol for change – it is forever flowing, and can take any course. Water is also used to symbolise purity and cleansing; this is more apparent in historical, ancient and renaissance pieces than more modern pieces; especially when used in paintings of deities.

Botticelli – The Birth of Venus

Water can alter the entire mood of a representational piece depending on how it is depicted. For example, have a look at the water used in The Birth of Venus by Botticelli (above). The sea is calming and appears to be warming, providing the entire artwork with an overall feeling of serenity, calm and awe. If the sea had been depicted as wavy and frantic; the aesthetic, mood and emotional qualities would be entirely different.

The depiction of water in a painting or any other medium of art can alter how the painting is received by a viewer. Whether the artwork is abstract, painterly, or wholly representative, water is a universally recognised symbol meaning that anyone can view the artwork and take something from it; so long as the landscape continues to inspire artists – so will water.

 

 

 

Posted in Landscape | Leave a comment

The Emotional Properties of Colour

Posted on December 31, 2014 by Mark Mitchell

Colour theory and visual art goes hand in hand; whether you’re looking at still life paintings, portraiture, landscape art, and, especially abstract art, colour has a huge influence in how the work is received by the viewer. Although, the chosen colours in some artworks are used primarily to make the artwork as representative and true to life as possible, shades, tones and hues never fail to have an overall effect on the artwork.

Terry Watts – Rising Tide, Medway estuary Kent

Colour Theory: The Science behind the Art

One of the first things that many of us learn about when studying art today, is colour theory; what colours create which other colours and how they work together. Historic artists would have also considered this; especially those who did not have the benefit of painting from photographs or even life.

3 Primary Colours: 

  • Red
  • Blue
  • Yellow

3 Secondary Colours: created by mixing the primary colours together including:

  • Red + Yellow = Orange
  • Yellow + Blue = Green
  • Red + Blue = Purple

Shades and Tints:

Colours can be lightened by adding white to the palette; this is known as a tint and as we all know, the same colour can always be darkened by adding black which is known as a shade. Typically lighter shades are considered to be more feminine whereas darker shades appear more masculine.

The Emotion of Colour

So that’s the science of colour, however, we’re going to take a look at the emotional side, for example,  the meaning of colour and what connotations, feelings and moods it can add to paintings.

George Weissbort – Still life with mustard jar, tomatoes, knife and glass on a striped tablecloth

Red

A predominately red piece can evoke a number of emotions; of course, the mood will vary dependent on the tonal qualities of the colour in question. Typically dark reds are used to evoke a romantic setting; however, that being said, red can also evoke angry connotations. In short, red is a passionate colour that can portray both positive and negative emotions.

Yellow

Yellow is probably one of the most optimistic of the colours and is associated with happiness and home; perhaps the reason for this is that it is the colour of the sun and natural light. Light yellow is certainly a more positive colour than a dull yellow that can represent decay and sickness.

Blue

Blue is probably one of the most common colours found in landscape paintings, it represents both the sky and the sea. It is a soft colour, yet it can also portray depth when a deeper, dark shade it used. Blue is often associated with masculinity, whereas pink, more feminine.

White

The colour white is powerful; it represents purity, perfection, and, innocence. Throughout the Renaissance angels were depicted in white, flawless gowns meaning that white holds religious and spiritual connotations.

Black

Typically black is used to alter the tonal qualities of colours, however it also holds connotations of its own; usually negative. Black can be used to create a raw feeling of doom. In general, the darker painting, the more solemn or dramatic the piece becomes, especially when contrasted with brighter shades.

George Weissbort – Still Life with Apples and Knife

Green

Green is believed to have a calming effect; it is the colour of nature and suggests connotations of hope, growth and sustainability. You will obviously see green more predominantly in landscape paintings due to the subject matter. Green can also have negative connotations such as jealousy, sickness and envy. Again tone has a lot to do with the psychological connotations of a colour.

The Influence of Colour

Colour is hugely influential in regards to artwork. Of course, this isn’t just the case for fine art; the psychology of colour is apparent in graphic arts, illustration, advertising, web design and even art therapy. Colour is inspirational and powerful; it is an effective tool that will certainly remain to be so as long as art is created, so hopefully forever.


Posted in Art Theory | Leave a comment

The Power of Symbolism in Art

Posted on December 24, 2014 by Mark Mitchell

In our past articles we have touched upon the subject of symbolism, especially when taking a look at food and drink in still life paintings. However, you have probably noticed that still life is not limited to just the representation of food and drink; many other objects are depicted to make up paintings that are not just aesthetically pleasing but are full of meaning – or subtle connotation.

William Gowe Ferguson – Still Life with game birds & implements of the chase on draped stone ledge

What is Symbolism?

The term symbolism is defined as the use of items, words, gestures, or actions that are representational of certain qualities or ideologies that may be interpreted consciously or even subconsciously by the viewer or reader of the work. How the piece is interpreted can depend on a range of factors; from religious background, race, era, and even individual personality.

Symbolism in Still Life

Symbolism is a huge part of still life art in all mediums, although, some still life pieces are purely decorative. In some cases, the symbolism is controlled by the artist; they want their work to ‘say’ something particularly, on the other hand, some symbolism is born purely out of the interpretation; meaning that some viewers may get something completely different from the same artwork as another. Of course, whether symbolism is intended or not is only ever going to be truly known by the artist of the work in question.

In a previous article, we looked at the connotations of fruit in still life paintings; we found that many of the objects used here held religious or mythical connotations. Now, we’re going to take a look at what other objects used in this style of art could, or are known to mean.

Joseph De Belder – Still Life with Arum Lillies

Still Life Symbolism

Skulls – The depiction of a skull could represent several things,perhaps the most obvious option and universal is death. This positioning of the skull can alter how the painting is read; for example if the skull is displayed in the foreground of the painting it could be read as warning.

Musical Instruments – these items were considered to be extremely luxurious, therefore if an instrument in excellent condition (such as a flute) was depicted, it would be read a symbol of wealth – this would certainly be more prevalent in more historical 18th century still life art. On the other hand, a damaged or old musical instrument could represent loss of wealth or be representative of a family heirloom.

Purple Silk/Material – in many paintings you will see purple silk or material; this will often soften the imagery however, it can also be representative of royalty and luxurious living – especially if the material is purple. Other material such as white cotton, especially when displayed with wine and bread can hold spiritual and religious connotations.

Books – Books are a universal representation of knowledge and learning often referring to power and educated status.

Lilies – Flowers often represent life in paintings; however, the lily often refers to death as it is the traditional flower used at funerals.

Objects from Overseas – Paintings with oriental vases and sculptures refer to travel – again this refers to status and creates an exotic connotation.

A Powerful Tool

Much of the symbolism used in still life art represents status, especially when we look back in time; of course, some more modern still life paintings are used more as a social commentary. Symbolism is a powerful part of art and a tool that both artists and viewers can use; subconsciously and consciously. One painting could have many different meanings to many different people – that is the beauty of art, it is never rigid.

Posted in still life | Leave a comment

How the Framing Affects the Artwork

Posted on December 16, 2014 by Mark Mitchell

For many artists and galleries, framing is an essential part of the presentation process; in some cases it can even add to the artwork itself. To see how framing can affect the artwork we’re going to take a look at the still life paintings in our collection to see how their chosen frames (original or reproduction) affect the overall display and aesthetics of the piece.

Herman Courtens – Flowerpiece with Roses and Marigolds – Antique French antique 18th Century architrave frame.

Historical: A Social Statement

The views in regards to framing have changed throughout history; in the past, an extravagant frame was the completing feature that added to the extravagant nature of the artwork therefore, emphasising the status of the owner – artwork pre-modernism, was essentially to be aesthetically pleasing and a social statement. The frames of artwork in a post-modern world are often simpler.

Aesthetic Affects

Framing can affect the painting (or drawing) as a whole, allowing the viewer to see the whole picture rather than certain parts; making the artwork more powerful – it is a tool so that the viewer can completely immerse themselves in the painting. A frame can even be used to direct attention back into the artwork.

Aesthetics: The Extravagant

 

Victor Fontaine – Gueridon Fleuri – original antique French 19th century Salon frame

This artwork; Gueridon Fleuri, is complete with its original Salon frame, which as you can see compliments the painting perfectly. The painting itself is highly decorative and fits remarkably well with the ornamental and luxurious affect of this grand and detailed frame. In this case the rich contrasting tones of red and fresh white are complemented beautifully with the golden frame. The frame certainly draws your eye to the centre piece and adds to the overall feeling of grandeur and decorative element of the piece.

 

Aesthetics: The Simplistic

 

George Weissbort – An Arrangement of a Loaf, a Jar of Red Peppers & White Linen on a Shelf – Reproduction Continental 20th Century Artists Frame

 

The 20th century reproduction artist’s frame on the Weissbort painting above is a much simpler than the extravagant 19th century frame that we discussed in regards to Fontaine’s piece. The frame itself adds to this work beautifully, complementing the tones of the background wonderfully whilst contrasting effectively with the bright red tones of the red pepper jar, allowing the subject matter to speak for itself. The pale creamy colour of the frame emphasises the shadow adding to the three dimensional affect whilst creating a warming, homely aesthetic.

Both the extravagant frame on the Fontaine artwork and the simpler feature on the Weissbort above, add to the general aesthetic and enhance the display.

Value

Framing art cannot only affect the physical appearance of the artwork, but it can also increase the value of the artwork especially when it comes to period picture frames, such as the original antique French 19th century frame displayed featured on the Fontaine painting above.

A frame can add the finishing touch to an artwork adding to the general theme, aesthetic or even feeling. It can also add value and work as a tool to draw viewers into the painting and view it is as a whole. Of course, the style of frame (if original) will also depend on when the artwork was created; 19th century frames are far more extravagant whereas 20th century frames are much simpler (although this isn’t always the case).

Today, framing is a decision left completely up to the artist or the owner of the artwork; it is a question of personal preference and how it will affect the artwork.

 

Posted in Display | Leave a comment

The Versatility of Oil Paint

Posted on November 21, 2014 by Mark Mitchell

Paint is an exceptionally versatile medium; it can be used to depict wholly representative images, expressive works and even more illustrative work. Of course, there are many different paint mediums from oil, to watercolour and, acrylics; each has its own individual aesthetic qualities that affect the overall composition and, feel of the finished work.

In this article we’re going to look at representative and expressive oil paintings to see how this medium has been used in completely different ways to achieve such contrasting images.

Representational

Stephen Rose – Lobster Frigidor

Still life paintings are one of the best examples of representative art and how paint can be used in a wholly realistic way; for example take a look at Stephen Rose’s Lobster Frigidor which we have mentioned briefly before in our blog where we discussed food and drink in still life. The painting itself is a beautiful representation of realistic art.

The strokes used to create this painting are so smooth and delicate that they are difficult to notice. The lobster sits upon the foil awaiting its fate. The foil is so well depicted that as the viewer it feels like you can reach out and touch it. Each crease has been detailed which adds a 3 dimensional and reflective quality to the work that contrasts with the shadowy background and dark shell of the lobster.

Expressive

Vanessa Garwood – Spain: Shadows & Trees

For a more expressive use of oil paint, we will take a look at Vanessa Garwood’s landscape paintings. This artist creates much more expressive paintings; they aren’t wholly abstract, but they are certainly not created to be wholly representational. Garwood’s paintings especially the above painting; Spain: Shadows & Trees are created with an expressive energy together with a complex composition. This painting aptly represents the qualities of wood; portraying the layered aspects of the natural forest floor which loosely painted strokes and vibrant colours.

Both of these paintings are created with oil paint (one on board one on canvas); however they embody completely different aesthetic qualities; Rose favours a more realistic style whereas Garwood, presents us with a more energetic and expressive collection. Both offer the viewer different experiences. By simply just taking a look at these two modern artists it is easy to see how versatile oil paint is and how it affects the overall aesthetic.

Boundaries are forever being pushed by today’s artist; there really isn’t a media that hasn’t been considered for use in visual art, however paint is still one of the most revered and important mediums in the industry. Whether the imagery that is created is expressive or representative, nobody can deny the power of a painting.

Posted in contemporary paintings | Leave a comment

The Human Element in Landscape Paintings

Posted on November 14, 2014 by Mark Mitchell

When it comes to landscape paintings, many are depicted as wholly natural themes with a subject matter that is entirely natural; this is known as pure landscape art, however, there are also many that contain a human element. So, this poses a question, how does the human element in landscape art alter the aesthetic qualities or even feeling of the artwork? – why are humanistic elements included at all?

Betram Nicholls – Ponte de Pietra, Virona 1928

What Are Human Elements?

Firstly. we must determine exactly what a human element in landscape art is; well, this would be anything from a building, to a vehicle, sculpture, boat or even an actual depiction of a human figure; the above painting by Betram Nichols is a perfect example of a landscape painting with a firm human element.

Aesthetics & Composition

One of the most common reasons for including a figurative or human element in a piece of landscape art is to create interesting composition, or, a more realistic depiction of the environment especially when it comes to the size and scale. Objects certainly help to create a picture when using the rule of thirds.

 

Edward Wesson – Near Mathom Broad, West Somerton, Norfolk

The Rule of Thirds

The rule of thirds is generally a set of guildelines that applies to the process of composing paintings and other visual images. It basically means that the image should be divided into 9 equal parts, however with 3 main sections. Two lines which are equally spaced apart are laid horizontal across the image with two equally spaced vertical lines. Important elements found in the composition should be placed along the lines or the imagine intersections. The rule is used to draw the viewer’s eye into the painting so that they do not view just one element but the image as a whole.

Connecting With the Viewer

Terry Watts – Winter Afternoon, Lyme Regis

The humanistic element in landscape art, whether a painting, drawing or photograph allows the artist to create a more believable, or it could be argued a more interesting image. However, it does not affect just the overall aesthetic of the picture, but the emotional aspect too, as some viewers will find it easier to connect with an image with a scene that is familiar to them.

The above painting by contemporary painter, Terry Watts, depicts an interesting image of the Cobb at Lyme Regis; this painting is an intriguing example of the human element in landscape art. Several figures can be seen walking towards to house, in the distance; the yellow tones in the sky together with the stillness of the water help to create a tranquil, relaxing image. Without this, the image may have had a more lonely and solemn atmosphere.

Like all paintings and every medium of art, the human element (or lack of) in landscape will appeal more or less to a variety of people. Neither form of landscape art is considered to be better or worse than the other, both certainly have a place both in the historic art world and the post modern, contemporary world of today.

Posted in Landscape | Leave a comment

The Importance of Sketching and Drawing

Posted on November 3, 2014 by Mark Mitchell

Sketching and drawing is an incredibly important part of art history or if you’re an artist yourself; whether you’re a painter, sculptor or even an installation artist – it has been a key element of art throughout history and in the contemporary art world.

At the end of October, the Big Draw took place – a worldwide festival devised to encourage everyone to pick up their pencils and start drawing again. This event has inspired us to explore the world of sketching and drawing, so in this article we’re going to look at why sketching is such a huge and important part of art and how the initial sketch influences the final artwork or even become the final piece itself.

Georges Feldkitchner – Study of a Lioness

The Purpose

The purpose of sketching varies; it can be to try out a range of different compositions and angles, especially when it comes to still life paintings – it will help to mould the final artwork. Sketching can also help the artist to be expressive and get initial ideas down onto paper. Much of the expression found in the final piece of work will have been created in the sketch; however in a much rawer form.

In Practice

Most artists will carry some form of sketch book around with them wherever they go; as inspiration can be found everywhere, plus there is always a chance to increase drawing skills. Sketching and drawing is important as it allows observational skills to grow and therefore representation of certain objects, people, animals or landscapes can be more realistic – if this is the desired effect of the artist of course.

Materials & Experimentation

Jackson Pollock – Autumn Rhythmn

The brilliant thing about sketching is that you can sketch with just about anything; pencil, pen, biro, ink, mud or anything else you can find. Mark-marking experimentation is what has contributed to much of the art that was created in the modernist movement and beyond. Just look at the work of abstract expressionist Jackson Pollock (above) for an experimental, expressive example; this is certainly not conventional sketching; however it is a form of expressionist mark-making born out of raw materials and emotion. For more figurative yet expressive sketching, see the fascinating preliminary sketches by famous British sculptor, Henry Moore.

Final Work

Betram Nichols – Hastings Castle

Drawings do not just have to be a preliminary piece, this is a misconception that continues to be apparent throughout the art world. Drawings are beautiful pieces of art which can often construe more emotion than the final work, however often in a much more expressive or experimental form. You don’t have to look far to see an example of this; the drawing above (Hastings Castle by Betram Nichols) is well refined however, it is likely to have been created as a preliminary drawing. As an observational drawing it is flawless; the drawing itself is dramatic, yet romantic thanks to its ghostly representation as it emerges subtly from the blank background.

Whether you’re an artist or an art lover, sketching and drawing is certainly something that will continue to be important. It helps to stimulate creative thought, increase observational skills and of course, develop visual artwork ideas in all mediums. To say that drawing is any less important than oil painting or fine sculpture would be a great shame; it has and will continue to influence artists throughout time.

Posted in Drawing | Leave a comment

The Characteristics of Coastal Art

Posted on October 21, 2014 by Mark Mitchell

In our previous article, we asked the question; ‘why do we love the landscape?‘ – which explored exactly what it is about the landscape that we, as humans are drawn to about this type of art. What we didn’t look at are the many sub-genres of landscape paintings and, of course, one of these is the depiction of the coast, which has fascinated many landscape painters (especially British painters) throughout history.

So, why are/were artists, both modern and historical, drawn to the coast? Well, there are many different reasons, however one of the most notable (especially when it comes to art history) is class.

Class & Fashion

Martin Swann – Boats Moored at Cowes

In the past a visit to the coast for a trip or a holiday was reserved wholly to the upper classes in society; this can certainly be attributed to the Victorian era, when the richer population would often visit Cornwall. This is one coastline of Britain that was incredibly romanticised, thus becoming a first class ‘holiday’ destination – a status that it arguably maintains today.

But what does this have to do with coastal art? The answer lies in history; for example, in the past, art (oil paintings especially) was reserved solely for the upper class of society – remember commissions were the sole way for an artist to make money. Patrons desired lavish paintings of dramatic, beautiful seascapes of places that they had visited or fashionable destinations. These coastal paintings were certainly a declaration of status.

Challenge & Skill

Of course, to say that seascapes and coastal depictions were solely created for fashion and commission purposes would be incorrect. Like landscape paintings which depict rolling hills and a marvel of mountains, coastal paintings are a celebration – or experiment – of skill. Water is certainly a tricky subject matter to recreate; it’s never still and is full of life. This is why so many seascapes feature boats and ships, in order to create a sense of movement.

Alfred Olsen – Shipping Along the Coast

Above all, artists enjoy a challenge and to take their skill to the next level, especially when it comes to those who focus on representational artwork.

Experience & Emotion

Even in a post-modern art world, artists continue to be drawn to the coast and to the sea for inspiration. Sculptor Antony Gormley famously created ‘Another Place’ at Crosby Beach in Merseyside which includes 100 cast iron human sculptures who are all staring out to sea to explore the relationship between humans and nature. 

Antony Gormley – Another Place

This admittedly eerie, yet comforting piece highlights the exact reason why we’re so drawn to the coast; as artists and viewers of art – the coast is experiential, ever-changing, yet characteristically familiar.

Martin Swann – The Hundred Guinea Cup, Cowes 2012

When looking back in time to artists such as Turner (who we looked at in our previous article) and to today, for example Martin Swann, it’s easy to see that experience, emotion, and passion for the coast is a prominent feature in coastal paintings,whether consciously considered or not. For example, take a look at the above painting The Hundred Guinea Cup, Cowes 2012; as a viewer you can almost feel the breeze on your skin – the painting is just brimming with vibrancy and energy; it’s certainly an experiential piece, as well as compositionally strong.

The coast is forever transforming; it’s altered by so many varying elements and it’s often breathtakingly beautiful – it really is a powerful subject matter that continues to inspire and influence artists working in all mediums to date. Whether coastal art is created in order to make a social commentary, or is simply for aesthetic purposes, there’s no doubt about it – it’s certainly relevant.

Posted in Landscape | Leave a comment

Why Do We Love the Landscape?

Posted on October 14, 2014 by Mark Mitchell

For thousands of years, the human race has been hooked by landscape art whatever the medium, although it only become a recognised genre of art in the late 15th century. There’s something special about landscape paintings; they somehow provide us with an emotional experience that is different to other subject matter. Why is this? And what is it about the landscape that has some kind of almost-otherworldly hold on us? Why is this subject matter so powerful that it continues to attract artists and viewers regardless of age, race, gender and nationality?

The Definition

‘Landscape art’ is the depiction of natural landscape usually with a focus on mountains, trees, rivers, forests, valleys, coastline and other scenic areas. Often, it does not contain a humanistic element, which is why it is so interesting that it has such an effect on us as the viewer; having said that, there are many depictions that do show boats, ruined castles, bridges etc.

Henri Jaques Delpy – Evening on the River

Realistic depictions of the landscape are usually arranged in coherent compositions; however the landscape has also inspired abstract painters, most famously Henri Matisse, Cezanne and, of course, Turner whose work is admittedly not entirely abstract but more avant-garde and expressive.

J.M.W Turner – Rain, Steam and Speed – National Gallery London

Mood & Emotion

Landscape paintings often construe a certain mood or emotion – they are incredible tools for creating anatmosphere. For example, when viewing a painting with a sunset, you often feel that warming feeling and a sense of wonder: why? Well, the fact is we have all experienced that moment in reality, which is why we have such a strong emotional connection to landscape art – we can all understand it.

Terry Watts – Winter Afternoon Lyme Regis

The weather is a huge factor as well; for example, moody atmospheres with a rough sea will create a dark, dramatic and frantic atmosphere. As humans the weather affects our lives daily so it certainly has an intense effect on our mood or emotions. In our previous blog The Connotations of Weather in Art, we explore this in depth.

Powerful Subject Matter

The landscape is a powerful subject matter which can embody a wide spectrum of emotions, however it is also used a purely decorative genre where artists can display their skills. Landscape art can also be all about capturing a beautiful moment and documenting natural events that others may never get to see – especially when it comes to photography.

We can all access the external environment, which is one of the reasons why it is one of the most accessible and universal forms of art. Examples of landscape art can be found from Britain, to Paris to China and the fact that it is still exceptionally popular today; for both artists and viewers just shows that landscape as a subject matter will always be relevant.

Posted in Landscape | Leave a comment