目次:
【シルエット風景の描き方】Acrylic paint silhouette landscape.アクリル絵の具で描いてみようPart1 (かもしれません 2024)
風景画、芸術における自然の風景の描写。風景画には、山、谷、水域、野原、森林、海岸などが含まれ、人や人造の構造物が含まれる場合と含まれない場合があります。古代と古典の初期の絵画には自然の風光明媚な要素が含まれていましたが、独立したジャンルとしての風景は、16世紀のルネサンスまで西洋の伝統に現れませんでした。東洋の伝統では、ジャンルは4世紀の中国にまでさかのぼることができます。
次の記事は西洋の伝統だけを扱います。その他の風景画の伝統に関する詳細については、国または地域で検索してください。たとえば、中国絵画、日本美術、南アジア美術：視覚芸術。
16、17、18世紀の風景画
風景画は、それ自体はまだジャンルではなく、美術アカデミーの主題の厳格な階層では低いと見なされていましたが、背景の風景は、15世紀後半にヴェネツィアで登場した構成でますます詳細になりました。風景は、ジョヴァンニベリーニの作品（庭の苦悶、1465年頃、風景の中の聖ジェロームの読書、1480〜85年頃）、そして少し後に、ジョルジョーネの作品（テンペスト、1505年頃;崇拝）で注目されました羊飼いの、1505/10）。 16世紀半ばまでに、北ヨーロッパの芸術家、特にヨアヒムパティニルやアルブレヒトアルトドルファーなどのドナウ派の芸術家たちが、聖書の人物が多く登場するものの、自然の美しさそのものを称賛する絵画を制作していました。 16世紀後半にフランダースの芸術家ピーターブリューゲルザエルダーは、色彩豊かで非常に詳細な風光明媚な景色に特化した、マスター風景画家になりました（1558年のイカロスの秋の風景、1565年の雪のハンター、1565年の収穫）。
The 17th century ushered in the classical, or ideal, landscape, which set scenes in the mythic and idyllic Arcadia of ancient Greece. The leading practitioners of the classical landscape were the French-born Italy-based artists Nicolas Poussin and Claude Lorrain. With their idyllic scenes and classically ordered, harmonious compositions, Poussin and Claude attempted to elevate the reputation of the landscape genre in a variety of ways: by attaching metaphorical meaning to the natural elements of their paintings, by depicting mythological or biblical stories set in elaborate natural settings, and by emphasizing the heroic power of nature over humanity.
The other prominent landscape tradition of the 17th century emerged from the Netherlands in the work of Dutch artists Jacob van Ruisdael, Aelbert Cuyp, and Meindert Hobbema. The sky, often ominously cloudy and filling half or more of the canvas, played a central role in setting the tone of a scene. The Dutch artists of that period infused the elements of their compositions with metaphorical meaning and made use of the visual impact of small figures in a vast landscape to express ideas on humanity and its relationship to almighty nature.
The centre of landscape painting during the 18th-century Rococo period shifted from Italy and the Netherlands to England and France. French painters Antoine Watteau, Jean-Honoré Fragonard, and François Boucher developed lyrical and romantic outdoor scenes that, with precise detail and delicate colouring, glorified nature. Their lighthearted landscapes—called fêtes galantes—were decorative vignettes filled with beautifully dressed men and women enjoying outdoor amusements and leisure time. The English Rococo landscape tradition was led by Richard Wilson, who painted in Italy as well as in his native England. His best-known painting, Snowdon from Llyn Nantlle (c. 1765), which shows a group of three people fishing at a lake framed by mountains, exemplifies his serene style. Other English landscape painters of note include Thomas Girtin, John Robert Cozens, and Thomas Gainsborough (who was also well known for his portraiture).
The Romantic landscape and the first half of the 19th century
Landscape artists of the 19th century embraced the wide-reaching Romantic movement and infused their compositions with passion and drama. It was in the 19th century that landscape painting finally emerged as a respectable genre within the art academies of Europe and gained a strong following in the United States as well. In England two of the foremost landscape painters were John Constable and J.M.W. Turner. Both artists worked on a grand scale to express the power of nature. They were both masters at capturing on canvas the atmospheric qualities of the weather. Constable, however, worked in a realist mode with a high level of precision in his landscapes of the English countryside, whereas Turner, particularly later in his career, produced wildly expressionistic and atmospheric seascapes that verged on abstraction.
In Germany the Romantic landscape was epitomized in the work of Caspar David Friedrich, whose paintings were charged with emotional and religious symbolism and could be interpreted allegorically. Friedrich’s The Cross in the Mountains (c. 1808)—a painting of a crucifix illuminated by the sun’s rays at the summit of mountain—expresses a spiritual sentiment by way of the natural elements. French artists Jean-François Millet, Charles-François Daubigny, Théodore Rousseau, and others were part of the Barbizon school (1830s–70s), a group that painted in and around the Fontainebleau forest. The artists, though only loosely tied to one another, were united in their interest in capturing carefully observed nature. They eschewed the formal balanced compositions of their predecessors in preference for a truer, if less harmonious, depiction of their surroundings.
In the United States the Hudson River school (1825–70) painters were centred in the Hudson River valley in New York. In paintings of the Catskill Mountains, the Hudson River, and the wilderness of New England and beyond, the artists captured dramatic effects of light and shade, the finest details of their subject matter, and celebrated the unique beauty of still-untouched areas of the American landscape. The group’s first members—Thomas Cole, Asher B. Durand, and Thomas Doughty—inspired numerous younger painters including Frederic Edwin Church, Fitz Henry Lane, Jasper Cropsey, Albert Bierstadt, and Martin Johnson Heade. The invention of the tin tube for paint (1841) and the invention of the portable collapsible easel (also in the mid-19th century) revolutionized the landscape genre by allowing artists to venture out of the studio and study and paint their subjects firsthand. Outdoor painting became the dominant practice of the Impressionist painters of the late 19th century.
