8/1/2023 0 Comments Traditional landscape artThus new artistic practices, such as Art Nouveau, and, notably, Impressionism, emerged. Rebelling against the academy, artists at the time argued through visual mediums that their work should transcend the reality of the world rather than transcribe it, a job that now seemingly fell into the photographer’s hands. After the introduction of the camera, artists were no longer charged with capturing the likeness of their surroundings, but instead tasked with an interpretation of beauty that transcended literal translation. While Art Nouveau never developed its own approach to the landscape, it did, in these special instances, adopt and honor the landscape practices established by the aforementioned schools of art.Īt the turn of the century the very purpose of many traditional modes of artistry were made obsolete by the advent of photography. Impressionism, Realism, Romanticism and the Hudson River School had each developed their own placeable approach to the landscape, each approach being revolutionary at the time of its introduction. These instances, few in number and sophisticated in nature, speak to a refined understanding of the landscape painting practice, as well as an appreciation of those artistic schools that directly predated or existed concurrently with the Art Nouveau movement. Though largely forgoing the pictorial rituals that preceded them, the Art Nouveau masters did, occasionally, make careful nods to historical traditions of depicting the world around them. Metropolitan Museum of Art, New York City Katsushika Hokusai, Nakahara in Sagami Province (Sōshū Nakahara), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) (1830-2), Woodblock print ink and color on paper. The whiplash arc of a dragonfly’s wing or the diaphanous shimmer of a peacock’s feather were granted the attention previously reserved for seascapes and mountain scenes while backgrounds became flat and abstracted, emerging as ethereal framing devices rather than deep sets of value mimicking a horizon line. In place of traditional landscapes, Art Nouveau adopted a fastidious attention to natural details in a manner inspired by Japanese woodblock prints, very newly available in Europe at the time. Fluidity of line, asymmetry, near abstraction, and a bold synthesis of structure and decoration dominated compositions at the turn of the 20th century, supplanting traditional desire to create a window into another dimension. As heirs to a distinguished artistic legacy, many contemporary Chinese ink painters have devised new styles and modes of presentation within a traditional framework.A movement that eschewed historicism, romanticism, and so called “academic art,” Art Nouveau largely abandoned the established artistic practices that preceded it, including the eons old custom of landscape painting. ![]() Korea, in particular, adopted many Chinese aesthetic and cultural values, over time transforming them into new, distinctively Korean styles. This literati ideal gained popularity in Korea during the Chosŏn dynasty and within certain schools of Japanese art during the Edo period (1615–1868). Influential literati artists and art critics of the succeeding Ming (1368–1644) and Qing (1644–1911) dynasties continued to promote the ideal of landscape painting as an expression of the artist’s learning, ethics, and personality. During the Yuan dynasty (1279–1368), literati painters-scholar-gentlemen who had mastered the arts of the calligraphic brush-denounced the highly polished, conventionally realistic works of professional artists and exalted the expressive value of brushwork. Throughout the Song dynasty (960–1279), naturalistic depiction was the primary goal of Chinese painting. ![]() ![]() Whether real locations or imagined settings, painted landscapes evoked the experience of being in nature and became a virtual means of escape from the hardships of urban living. The term for landscape paintings in East Asia translates as “mountains and water” (Chinese: shanshui Korean: sansu Japanese: sansui), because landscapes always feature these two elements, often in the form of a grand mountain peak and a waterfall, or rolling hills along a river. The works in this section of the gallery feature Korean landscapes from the Chosŏn dynasty (1392–1910) as well as contemporary Chinese ink paintings that reveal the lasting legacy of the great Chinese landscape tradition. Among these, landscape paintings have claimed pride of place. The subjects of East Asian secular paintings are diverse, ranging from landscapes to flora and fauna, figures, and narrative scenes. For more than a thousand years the most admired works of art in China and Korea have reflected a deep appreciation of nature.
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