For this I was to research artists from different eras who use landscape as their main subject. Albrecht Durer’s landscapes are some of the earliest recordings of the northern Renaissance world.Claude Lorrain’s landscapes based on classical proportions. LS Lowry’s images of Salford industrial life. George Shaw who paints an urban environment and Sarah Woodfine, who takes an imaginative approach to drawing spaces and places.
Albrecht Durer – Born 1471
The Wire-drawing Mill
I love this picture painted in Watercolour and Gouache, its delicate tone and undulating scenery are balanced by the strong angular shapes of the buildings. It reminds me of a wonderful day out I had and the Weald and Downland Open Air Museum. http://www.hha.org.uk/Property/2632/Weald–and–Downland-Open-Air-Museum
The center 1/3rd of the picture is the main focal area, the hills behind painted blue to show distance.
Claude Lorraine-Born 1600
A beautifully detailed oil painting. It shows a romantic view of the countryside with a view of the Arch of Constantinople. It was his painting of the Evening light which attracted my attention, so expertly depicted with his use of contrast and tone. The main focal point being a group of people with a boat leading the eye to a herd of cows skirting the river, with a couple on the opposite bank. Depth to the picture is achieved by the pale coloured hills in the background. Its his clouds and sky that I find enchanting the light is so real, so well painted you could believe you were there.
LS Lowery – Born 1887
Industrial Landscape: The Canal
I like this picture, it gives me a feeling of a time where hardship was normal but people were more community minded. I live near to a canal where its factory and chimney stand guard over the surrounding area, they could easily evoke fear especially if the treatment within was bad, but I know several people who have worked in good mills and have very fond memories of their years there. The Canal is a painting of an industrial landscape its focal point being in the fore, where the subjects are not marching in streams from work, but look like they are enjoying recreation. Some figures bent not towards the wind, we know this because the smoke from the chimneys tells the viewer different. Maybe they were watching their foot placements, given the lack of green and the dominating use of white, I am guessing it was cold, with snow and ice. You could be mistaken for believing Lowery was naive with his painting, and I used to, but I think his ability to tell a story within his work is amazing. With this picture the story begins within the focal point but leads into the distance where you see a cold foggy scene, dominated by many chimneys. His brushstrokes look lively and impressionistic with his pallet showing deep dark’s, contrasted with a very pale grey his pallet included blues, greens, reds and yellow, but the dark’s and lights were dominant.
George Shaw – Born 1966
I not a great fan of George Shaws paintings as I find them depressing.Having said that his skills as an artist and his clever use of Enamel paints do deserve admiration, but for me his pictures lack life, even the blooms on the Roses in the picture above, Home Series, look to be past their best.
Scenes From The Passion: The Fall, 1999
In The Fall shown above there is use of a limited pallet, but his fine brushstrokes do give a photo realistic look to his picture. The main focal point is the dilapidated state of the garages, which are pushed into minds view by the dark shadows giving contrast to the subject, which runs left to right across the center gaining distance from the viewer as their eye follow right . I love the clarity of the reflection in the water.
Sarah Woodfine – Born 1968
Untitled (Castle) 2005
I am surprised that I actually love this dome, I cant even explain why, except maybe her work appeals to the child in me and reminds me of the little snow dome I had when young. She captures the imagination with her pencil drawings looking like little sets on a miniature stage. The dark background behind the castle is almost sinister giving atmosphere to the piece cleverly exhibited in a dome framing the whole work, enhancing and becoming part of the picture.