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Architecture in the paintings of domestic artists

Panoramas of the capital's streets, architectural monuments, buildings that no longer exist, wooden boats scurrying along the Neva and the Moscow River - all this can be seen in the paintings of the urban landscape masters of the late 18th - first half of the 20th century. About 10 artists of this genre - in the material of the portal "Culture.RF".

Fedor Alekseev. View of the Resurrection and Nikolsky Gates and the Neglinny Bridge from Tverskaya Street in Moscow (detail). 1811. State Tretyakov Gallery, Moscow

Fedor Alekseev. Red Square in Moscow (detail). 1801. State Tretyakov Gallery, Moscow

Fedor Alekseev. View of the Spit of Vasilyevsky Island from the Peter and Paul Fortress (detail). 1810. State Russian Museum, St. Petersburg

Fedor Alekseev began his creative career with the cityscapes of Venice, where he lived as a pensioner from the Academy of Arts. Returning to Russia, he painted views of the Crimea, Poltava, Orel, but he became famous for his paintings depicting Moscow and St. Petersburg. The most famous canvases of his Moscow cycle - "Red Square in Moscow" and "View of the Resurrection and Nikolsky Gates and the Neglinny Bridge from Tverskaya Street in Moscow" - are today kept in the Tretyakov Gallery. The main St. Petersburg paintings of the artist - "View of the Spit of Vasilevsky Island from the Peter and Paul Fortress" and "View of the English Embankment" can be viewed in the collection of the Russian Museum.

Alekseev’s paintings are interesting not only from an artistic point of view, but also from a historical point of view: for example, the painting of the 1800s “View of the Church of St. Nicholas the Big Cross on Ilyinka” depicts a baroque church of the late 17th century, which was demolished in 1933. And thanks to the painting “View of the Kazan Cathedral”, you can find out that initially there was a wooden obelisk in front of this St. Petersburg temple. Over time, it fell into disrepair, and in the 1820s it was removed from the square.

Maxim Vorobyov. View of the Moscow Kremlin (from the Ustyinsky bridge) (detail). 1818. State Tretyakov Gallery, Moscow

Maxim Vorobyov. View of the Kazan Cathedral from the western side (detail). First half of the 1810s. State Russian Museum, St. Petersburg

Maxim Vorobyov. Peter and Paul Fortress (detail). Late 1820s. State Russian Museum, St. Petersburg

He also portrayed other Petersburg suburbs - Peterhof, Pavlovsk, Gatchina and, in fact, Petersburg itself. Among the artist's works are "Apollo's Cascade and the Palace", "View of the Kamennoostrovsky Palace", "View of the Big Pond Island in Tsarskoye Selo Gardens", "Rural Yard in Tsarskoye Selo". And although Semyon Shchedrin was a master of the urban landscape, he painted architectural objects rather conventionally. The main attention of the artist was given to nature - art historians consider him a harbinger of the Russian lyrical landscape.

Stepan Galaktionov. View of the Neva from the Peter and Paul Fortress (detail). 1821. All-Russian Museum of A.S. Pushkin, St. Petersburg

Stepan Galaktionov. Fountain in the park. (fragment). 1820. Sevastopol Art Museum named after P.M. Kroshitsky, Sevastopol

Stepan Galaktionov. Cottage in the park (detail). 1852. Tyumen Museum of Fine Arts, Tyumen

Stepan Galaktionov was not only a painter and watercolorist, but also a brilliant engraver: he was one of the first in Russia to master the technique of lithography - stone engraving. The main source of inspiration for Galaktionov was the architectural monuments of St. Petersburg. He participated in the creation of an album of lithographs "Views of the suburbs and environs of St. Petersburg", which was supervised by the artist Semyon Shchedrin in 1805. This collection includes his works: “View of the Kamenny Island Palace from the dacha of Count Stroganov” and “View of the Monplaisir Palace” in Peterhof, “View of the Temple of Apollo with the Cascade in the garden of the Pavlovsky Palace” and “View of a part of the palace from the side of a large lake in the city of Gatchina” . Subsequently, he also participated in the work on the collection "Views of St. Petersburg and its environs", published in 1825 by the Society for the Encouragement of Artists.

Vasily Sadovnikov. View of the embankment and the Marble Palace (detail). 1847. State Hermitage, St. Petersburg

Vasily Sadovnikov. View of the Neva and the Peter and Paul Fortress. 1847. State Hermitage, St. Petersburg

Vasily Sadovnikov. View of the Neva and the Peter and Paul Fortress (detail). 1847. State Hermitage, St. Petersburg

The self-taught artist Vasily Sadovnikov painted the architecture of St. Petersburg while still a serf of Princess Natalya Golitsyna. Having received his freedom, he entered the Academy of Arts, where Maxim Vorobyov became his teacher.

Numerous views of the Winter Palace are known, painted by Sadovnikov on behalf of Emperors Nicholas I and Alexander II. But the most famous work of the artist is the 16-meter watercolor "Panorama of Nevsky Prospekt", on which he worked for 5 years - since 1830. On it, the main street of St. Petersburg is drawn in both directions - from Admiralteiskaya Square to Anichkov Bridge. The artist depicted in detail in the picture each house on Nevsky Prospekt. Later, the publisher Andrei Prevost released separate parts of this panorama in the form of lithographs, the series consisted of 30 sheets.

Among other metropolitan paintings of the artist - "View of the embankment and the Marble Palace", "Court exit from the main entrance of the Grand Palace in Peterhof", "Field Marshal's Hall". On the work "Departure of the stagecoach from St. Isaac's Square" the cathedral is depicted at the construction stage.

In addition to St. Petersburg, Sadovnikov painted cityscapes of Moscow, Vilnius, and Helsinki. One of the last works of the artist was the panorama of St. Petersburg from the Pulkovo Heights.

Andrey Martynov. View of the palace of Peter I in the Summer Garden (detail). 1809-1810. State Hermitage Museum, St. Petersburg

Andrey Martynov. View of the Gulf of Finland from the balcony of the Oranienbaum Palace (detail). 1821-1822. State Hermitage Museum, St. Petersburg

Andrey Martynov. View of Nevsky Prospekt from the Fontanka to the Admiralty (detail). 1809-1810. State Hermitage Museum, St. Petersburg

Among the first independent works of the master of landscape painting Andrey Martynov are Italian views. After graduating from the Academy of Arts, the artist lived as a pensioner in Rome. Returning from Italy to his homeland, Martynov painted views of St. Petersburg using various techniques, including watercolor and engraving. To print engravings, Martynov even opened his own lithographic workshop.

Among the famous works of the artist are “The Bank of the Bolshaya Embankment in St. Petersburg from Liteinaya to the Summer Garden”, “Along the Summer Garden to the buildings of the Marble Palace”, “From Moshkov Lane along the buildings of the Winter Palace”.

Martynov traveled a lot, he visited Beijing with the Russian ambassador. Later, the artist released a lithographic album "A picturesque journey from Moscow to the Chinese border." On trips, Martynov drew ideas for his paintings, he also captured views of the Crimea and the Caucasus. The artist's works can be seen in the collections of the State Tretyakov Gallery, the State Russian Museum and the Museum of Fine Arts named after A.S. Pushkin.

Carl Beggrov. In the Summer Garden (detail). 1820s State Russian Museum, St. Petersburg

Carl Beggrov. Arch of the General Staff Building (detail). 1822. All-Russian Museum of A.S. Pushkin, St. Petersburg

Carl Beggrov. Triumphal gates (detail). 1820s State Russian Museum, St. Petersburg

Karl Beggrov painted landscapes, however, unlike the son of the marine painter Alexander Beggrov, he painted not sea views, but city views. A student of Maxim Vorobyov, he painted a large number of watercolors and lithographs with landscapes of St. Petersburg.

In 1821-1826, Karl Beggrov created a series of lithographs, which were included in the collection Views of St. Petersburg and its environs. Among them, for example, "View of the arch of the General Staff". After the publication of this album, Beggrov worked more in watercolor, but still painted mainly St. Petersburg - for example, "In the Summer Garden" and "Triumphal Gates". Today, the works of Karl Beggrov are kept in the State Tretyakov Gallery, the State Russian Museum, the State Hermitage and museums in other cities.

Alexander Benois. Greenhouse (detail). 1906. State Tretyakov Gallery, Moscow

Alexander Benois. Frontispiece for The Bronze Horseman by Alexander Pushkin (detail). 1905. State Museum of Fine Arts named after A.S. Pushkin, Moscow

Alexander Benois. Oranienbaum (detail). 1901. State Russian Museum, St. Petersburg

In 1902 in the magazine "World of Art"

Mstislav Dobuzhinsky. Petersburg (detail). 1914. State Tretyakov Gallery, Moscow

Mstislav Dobuzhinsky. House in St. Petersburg (detail). 1905. State Tretyakov Gallery, Moscow

Mstislav Dobuzhinsky. Corner of St. Petersburg (detail). 1904. State Tretyakov Gallery, Moscow

Mstislav Dobuzhinsky was a versatile artist - he designed theatrical productions, illustrated books and magazines. But the central place in his work was occupied by the urban landscape, especially the artist liked to depict St. Petersburg - Dobuzhinsky spent his childhood there.

Among his works are "Corner of Petersburg", "Petersburg". Petersburg landscapes can also be seen in the book "Petersburg in 1921", in illustrations for Dostoevsky's White Nights and Dostoevsky's Petersburg by Nikolai Antsiferov. In 1943, Dobuzhinsky created a cycle of imaginary landscapes of besieged Leningrad.

As the art historian Erich Hollerbach wrote: “Unlike Ostroumova-Lebedeva, who captured in her engravings and lithographs mainly the architectural beauty of St. Petersburg, the artist also looked into the lowlands of city life, embraced with his love not only the monumental splendor of St. Petersburg architecture, but also the miserable squalor of the dirty outskirts.” After leaving the country, Dobuzhinsky continued to paint landscapes, but already in Lithuania and the USA.

Anna Ostroumova-Lebedeva. Petersburg, Moika (detail). 1912. Private collection

Anna Ostroumova-Lebedeva. Pavlovsk (detail). 1953. Private collection

Anna Ostroumova-Lebedeva. Petrograd. Red columns (detail). 1922. State Russian Museum, St. Petersburg

One of the main graphic artists and engravers of the first half of the 20th century. On woodcuts - woodcuts, lithographs and watercolors - she depicted mainly views of St. Petersburg. Among her works are illustrations for the books by Vladimir Kurbatov "Petersburg" and Nikolai Antsiferov "The Soul of Petersburg", watercolor "Field of Mars", "Autumn in Petrograd", engravings "Petersburg. Summer garden in winter”, “Petersburg. Rostral columns and stock exchange” and others.

The artist did not leave her native Leningrad even during the blockade: “I often wrote in the bathroom. I'll put a drawing board on the washstand and put an inkpot on it. Ahead on the shelf is a smokehouse. Here, the blows sound more muffled, the whistle of flying shells is not heard so much, it is easier to collect scattered thoughts and direct them along the proper path. The works of this period - "Summer Garden", "Rostral Column" and others - were also published in the form of postcards.

The theme of the landscape as a genre of fine art is the area. From French, the word "landscape" is translated as "area, country." After all, the landscape is not only the image of nature familiar to us. The landscape can also be urban (architectural, for example). In the urban landscape, a documented accurate image is singled out - “leading”.

And if we talk about the natural landscape, then here they distinguish separately the seascape, which is called the "marina" (accordingly, the artists depicting the sea are called "marine painters"), the cosmic landscape (the image of heavenly space, stars and planets).
But landscapes also differ in terms of time: modern, historical, futuristic landscapes.
However, in art, whatever the landscape (real or fictional) is, it is always an artistic image. In this regard, it is important to understand that each artistic style (classicism, baroque, romanticism, realism, modernism) has its own philosophy and aesthetics of the landscape image.
Of course, the landscape genre developed gradually - just as science developed. It would seem that what is common between landscape and science? A lot in common! To create a realistic landscape, one must have knowledge of linear and aerial perspective, proportionality, composition, chiaroscuro, etc.
Therefore, the landscape genre is considered a relatively young genre in painting. For a long time, the landscape was only an "auxiliary" means: nature was depicted as a background in portraits, icons, and genre scenes. Often it was not real, but idealized, generalized.
And although the landscape began to develop in ancient Eastern art, it received independent significance in Western European art starting around the 14th century.
And it would be very interesting to understand why this happened. Indeed, by this time, a person already knew how to quite correctly depict abstract ideas, his appearance, his life, animals in graphic symbols, but he remained indifferent to nature for a long time. And only now is he trying to understand nature and its essence, because to portray - you need to understand.

Development of the landscape in European painting

Interest in the landscape becomes clearly visible, starting with the painting of the Early Renaissance.
Italian artist and architect Giotto(circa 1267-1337) developed a completely new approach to depicting space. And although in his paintings the landscape was also only an auxiliary means, he already carried an independent semantic load, Giotto turned the flat, two-dimensional space of the icon into three-dimensional, creating the illusion of depth using chiaroscuro.

Giotto "Flight into Egypt" (Church of San Francesco in Assisi)
The painting conveys the idyllic spring mood of the landscape.
The landscape began to play an even more important role in the High Renaissance (XVI century). It was during this period that the search began for the possibilities of composition, perspective, and other components of painting to convey the surrounding world.
The masters of the Venetian school played an important role in creating the landscape genre of this period: Giorgione (1476/7-1510), Titian (1473-1576), El Greco (1541-1614).

El Greco "View of Toledo" (1596-1600). Metropolitan Museum of Art (New York)
The Spanish city of Toledo is depicted under a gloomy stormy sky. The contrast between heaven and earth is obvious. The view of the city is given from below, the horizon line is raised high, phantasmagoric light is used.
In creativity Pieter Brueghel (the Elder) the landscape is already gaining breadth, freedom and sincerity. He writes simply, but in this simplicity one can see the nobility of the soul, able to see the beauty in nature. He knows how to convey both the petty world under his feet, and the vastness of fields, mountains, skies. He has no dead, empty places - everything lives with him and breathes.
We bring to your attention two paintings by P. Brueghel from the cycle "The Seasons".

P. Brueghel (the Elder) "Return of the herd" (1565). Kunsthistorisches Museum (Vienna)

P. Brueghel (the Elder) "Hunters in the snow" (1565). Kunsthistorisches Museum (Vienna)
In the paintings of the Spanish artist D. Velazquez already seen the emergence of plein air ( plein air- from fr. en plein air - "in the open air") of painting. In his work “View of the Villa Medici”, the freshness of greenery is conveyed, the warm shades of light gliding through the leaves of trees and high stone walls.

D. Velasquez "View of the garden of the Villa Medici in Rome" (1630)
Rubens(1577-1640), life-affirming, dynamic, characteristic of the work of this artist.

P. Rubens "Landscape with a rainbow"
By a French artist Francois Boucher(1703-1770) landscapes seem to be woven from blue, pink, silvery shades.

F. Boucher "Landscape with a water mill" (1755). National Gallery (London)
Impressionist artists sought to develop methods and techniques that would allow them to most naturally and vividly capture the real world in its mobility and variability, to convey their fleeting impressions.

Auguste Renoir "The Frog". Metropolitan Museum of Art (New York)
The Post-Impressionist painters developed the Impressionist tradition in their painting.

Vincent Wag Gogh "Starry Night" (1889)
In the XX century. representatives of the most diverse artistic movements turned to the landscape genre: fauvists, cubists, surrealists, abstractionists, realists.
Here is an example of a landscape by an American artist Helen (Helen) Frankenthaler(1928-2011), who worked in the style of abstract art.

Helen Frankenthaler "Mountains and Sea" (1952)

Some types of landscape

architectural landscape

N.V. Gogol called architecture the “chronicle of the world”, because she, in his opinion, "speaks even when both songs and legends are already silent ...". Nowhere is the character and style of time manifested so vividly and clearly as in architecture. Apparently, therefore, the masters of painting captured the architectural landscape on their canvases.

F. Ya. Alekseev "View of the Exchange and the Admiralty from the Peter and Paul Fortress" (1810)
The painting depicts the Spit of Vasilyevsky Island. The compositional center of its architectural ensemble is the Stock Exchange building. In front of the Stock Exchange there is a semicircular square with a granite embankment. On its two sides there are columns that served as lighthouses. At the foot of the columns there are stone sculptures symbolizing the Russian rivers: Volga, Dnieper, Neva and Volkhov. On the opposite bank of the river you can see the Winter Palace and the Admiralty buildings, Senate Square. The construction of the Exchange, designed by Thomas de Thomon, lasted from 1804 to 1810. When Pushkin arrived in St. Petersburg in 1811, the Exchange had already become the architectural center of the Spit of Vasilevsky Island and the busiest place in the port city.
A kind of architectural landscape is the veduta. Strictly speaking, this landscape of F. Alekseev is the lead.

Veduta

Veduta is a genre of European painting, especially popular in Venice of the 18th century. It is a painting, drawing or engraving depicting a detailed depiction of an everyday urban landscape. Yes, the Dutch artist Jan Vermeer depicted accurately his native city of Delft.

Jan Vermeer "View of Delft" (1660)
Veduta masters worked in many European countries, including Russia (M. I. Makhaev and F. Ya. Alekseev). A number of leads with Russian views were performed by Giacomo Quarenghi.

Marina

Marina - a genre of painting, a kind of landscape (from lat. marinus - sea), depicting a sea view or a scene of a sea battle, as well as other events taking place at sea. As an independent type of landscape painting, the marina stood out at the beginning of the 17th century. in Holland.
Marine painter (fr. mariniste) - an artist who paints marinas. The brightest representatives of this genre are the English William Turner and Russian (Armenian) artist Ivan Constantinovich Aivazovski, who wrote about 6,000 paintings on the marine theme.

W. Turner ""The last voyage of the ship" Courageous ""

I. Aivazovsky "Rainbow"
A rainbow that has appeared in a stormy sea gives hope for the rescue of people from a shipwrecked ship.

historical landscape

Everything in it is quite simple: to show the past through the historical setting, natural and architectural environment. Here we can remember the pictures N.K. Roerich, images of Moscow in the 17th century. A.M. Vasnetsov, Russian baroque of the 18th century. HER. Lansere, A.N. Benoit, archaic K.F. Bogaevsky and etc.

N. Roerich "Overseas guests" (1901)
This is a picture from the cycle “The Beginning of Rus'. Slavs". In the article “On the way from the Varangians to the Greeks” (1899), Roerich described an imaginary poetic picture: “Midnight guests are floating. A light stripe stretches the gentle coast of the Gulf of Finland. The water seemed to be saturated with the blue of a clear spring sky; the wind ripples along it, driving off dull purple stripes and circles. A flock of seagulls landed on the waves, carelessly swayed on them, and only under the very keel of the front boat flashed their wings - something unfamiliar, unprecedented, aroused their peaceful life. A new stream makes its way through stagnant water, it runs into centuries-old Slavic life, passes through forests and swamps, rolls over a wide field, raises the Slavic clans - they will see rare, unfamiliar guests, they marvel at their strictly military, at their overseas custom. The rooks go in a long row! Bright coloring burns in the sun. The bow sides famously wrapped up, culminating in a high, slender nose.

K. Bogaevsky "Consular Tower in Sudak" (1903). Feodosia Art Gallery named after I.K. Aivazovsky

Futuristic (fantastic) landscape

Pictures of the Belgian artist Jonas De Ro are epic canvases of new, unknown worlds. The main object of Jonas's image is vast pictures of the post-apocalyptic world, futuristic, fantastic images.
In addition to the future of absolutely real cities, Jonas also draws completely original illustrations of an abandoned city.

J. De Ro "Abandoned Civilization"

Philosophy of the landscape

What is it?
At the center of landscape painting is always the question of the relationship of man to the environment - whether it be a city or nature. But the environment also has its relation to man. And these relationships can be harmonious and inharmonious.
Consider the landscape "Evening Bells".

I. Levitan "Evening Bells" (1892). State Tretyakov Gallery (Moscow)
The painting “Evening Bells” depicts a monastery at a bend in the river and illuminated by the evening sun. The monastery is surrounded by an autumn forest, clouds float across the sky - and all this is reflected in the mirror surface of a calmly flowing river. Both the bright joy of nature and the spiritual world of being and feelings of people are merged in harmony. I want to look at this picture and look, it calms the soul. It is a blissful, idyllic beauty.
And here is another landscape by the same artist - "Above Eternal Peace."

I. Levitan "Over Eternal Peace" (1894). State Tretyakov Gallery (Moscow)
Levitan himself wrote about this picture: "... I am all in it, with all my psyche, with all my content ...". In another letter: "Eternity, formidable eternity, in which generations have drowned and more will drown ... What horror, what fear!" It is about this formidable eternity that the picture of Levitan makes you think. Water and sky in the picture capture, amaze a person, awaken the thought of the insignificance and transience of life. On a steep high bank stands a lonely wooden church, next to a cemetery with rickety crosses and abandoned graves. The wind shakes the trees, drives the clouds, pulls the viewer into the endless northern expanse. The gloomy grandeur of nature is opposed only by a tiny light in the window of the church.
The artist, perhaps, wanted to answer with his painting the question of the relationship between man and nature, the meaning of life, contrasting the eternal and mighty forces of nature with the weak and short-lived human life. This is sublime tragedy.

ARCHITECTURE IN LANDSCAPE

Many artists draw and paint architectural monuments from nature every summer. Outdoor painting requires certain knowledge and practical skills. Here you can observe much larger spaces: often the distance to the depicted objects can reach several kilometers.

Suppose you come to the park. Among the old sprawling poplars and lindens, there are small details of architecture - bizarrely shaped woodenbenches, gates, gazebos, verandas, fountains. Before proceeding tosketches , choose the point of view from which the most expressive objects will look surrounded by greenery.

We must strive to emphasize the characteristic feature of the structure and form of architectural elements, learn to see in them the main and secondary. Some of the most interesting part should be drawn in more detail, the rest should be simplified.

Suchoutline flexible, timesshaped line shouldto match with tone - shading.Then the drawing will look likelivelier. Sketches in progressin any technique, but their mainthe task is to develop the sharpness of the formniya, observation, tverhand reach. Then we go tosmall colorsketches . They may include aboutsimple elements architecture . It also needs to be correctnew choice motive. If you are fromguard the gates of the villageat home, do not forget about the environmenton the path,shrub near the gate, dere vyah.

Often the image is composed too large for the selectedformat sheet. Or, on the contrary, they draw some detail so small that it disappears intolandscape . Or it turns out to be exactly in the center of the sheet, as if breaking it into equal parts. Often young artists depict a building in such a way that it covers the entire landscape - be it a river, a forest, a lake, a field.

Drawing various architectural motifs, many carelessly refer to their elementary construction. This gives the impression of instability of structures, leads to the curvature of their individual parts.

An accurate, well-composed drawing makes it easier to writecolor . But it is not at all necessary to show, and then studybrush the smallest details of the building. It is necessary to choose from them only those that give the building a unique architectural appearance, express its character, “face”. After all, often in the pursuit of trifles, we miss the main thing. But another mistake often occurs: a complete disregard for details, an obligatory “pursuit” of generality. This emasculates the vitality of the study, makes the work approximate.

Plans in open space are especially pronounced - for example, a building, being far away, will no longer look as distinct as close up. The distant forest will seem like a blue or blue stripe, the trunks and crowns of individual trees are simply not visible. Similarly, an architectural structure at a certain distance is “generalized” by

watercolorists most often, the first and middle plans are prescribed in more detail, applying several transparent layers of paint one on top of the other, with a gradual gain in color strength andtones . And for the background, they use the pouring technique - applying paint in one layer.

coloring architectural landscape depends both on the appearance and color of structures and reflexes falling on them, and on the time of day.

If you have chosen a morning motif, the colors of your study should not be too bright or sharp. Try to choose calm combinations of warm and cold shades. Working on a sunny afternoon, you may notice that the color of objects in the light is whitened, and the shadows, on the contrary, are saturated with hot reflections from the earth and cold reflections from the sky. When depicting an evening motif, such as a sunset, keep in mind that objects become less distinguishable in detail, darker in tone and colder in color, while the sky can be very colorful, even somewhat fantastic. It is very important to correctly understand the tonal and color relationships and correctly convey them.

Work on the architectural landscape will be successful only with a careful study of nature, the ability to see the details as a whole and the whole inseparable from the characteristic details. And most importantly - one must love nature and architecture, feel their indissoluble, poetic unity.

ARCHITECTURAL LANDSCAPE - the concept is borrowed from the works of A.I. Kaplun, who sees in it a high expression of the unity of ARCHITECTURE with nature as the most important means of artistry of the architectural ENSEMBLE (see Kaplun A.I. “Style and Architecture>>. - M., 1983).

ARCHITECTURAL LANDSCAPE - a genre variety of landscape, an image in painting and graphics of real or imaginary architecture in a natural environment. In the architectural landscape, linear and aerial perspective plays an important role, allowing nature and architecture to be connected together. It is possible to single out urban perspective views in the architectural landscape, in the 18th century. called veduta (Antonio Canaletto, Francesco Guardini, F.Ya. Alekseev), types of villas, estates, park ensembles with buildings, landscapes with ancient or medieval ruins (Hubert Robert, S.F. Shchedrin, F.M. Matveev), fantastic landscapes with imaginary buildings and ruins (Giovanni Battista). The architectural landscape is often a type of perspective painting.

urban landscape

landscape types

Depending on the nature of the landscape motif, one can single out rural, urban (including urban architectural and veduta), and industrial landscapes. A special area is the image of the sea element - the marina.

Rural landscape aka "village"

This direction of the landscape genre has been popular at all times, regardless of fashion. The relationship between nature and the results of the conscious activity of mankind has always been quite complex, even conflicting; in the visual arts, this is especially evident. Landscape sketches with architecture, a fence or a smoking factory chimney do not create a mood of peace: against such a background, all the beauty of nature is lost, gone.

However, there is an environment where human activity and nature are in harmony or, on the contrary, nature plays a dominant role - this is the countryside, where architectural structures, as it were, complement village motifs.

Artists in the rural landscape are attracted by tranquility, a kind of poetry of rural life, harmony with nature. The house by the river, the rocks, the greenery of the meadows, the country road gave impetus to the inspiration of artists of all times and countries.

This type of landscape was the result of several centuries of development in landscape painting. In the 15th century, architectural landscapes became widespread, which depicted views of the city from a bird's eye view. Antiquity and modernity often merged on these interesting canvases, elements of fantasy were present.

A kind of landscape, one of the types of perspective painting, an image of real or imaginary architecture in a natural environment. A large role in the architectural landscape is played by a linear and aerial perspective, linking nature and architecture.

In the architectural landscape, urban perspective views are distinguished, which were called in the 18th century. vedutami (A. Canaletto, B. Bellotto, F. Guardi in Venice), types of estates, park ensembles with buildings, landscapes with ancient or medieval ruins (J. Robert; K. D. Friedrich Abbey in an oak grove, 1809–1810, Berlin, State Museum; S.F. Shchedrin), landscapes with imaginary buildings and ruins (D.B. Piranesi, D. Pannini).

Veduta(it. veduta, lit. - seen) - a landscape that accurately depicts a documented view of the area, city, one of the origins of panorama art. The late Venetian landscape, closely associated with the names of Carpaccio and Bellini, who managed to find a balance between the documentary accuracy of depicting urban reality and its romantic interpretation. The term appeared in the 18th century, when a camera obscura was used to reproduce views. The leading artist working in this genre was A. Canaletto: Piazza San Marco (1727-1728, Washington, National Gallery).

Marina (it. marina, from lat. marinus - sea) - one of the types of landscape, the object of which is the sea.

Marina took shape as an independent genre in Holland at the beginning of the 17th century: J. Porcellis, S. de Vlieger, V. van de Velle, J. Vernet, W. Turner “Funeral at Sea” (1842, London, Tate Gallery), K. Monet "Impression, Sunrise" (1873, Paris, Marmottan Museum), S.F. Shchedrin "Small Harbor in Sorrento" (1826, Moscow, Tretyakov Gallery).

Aivazovsky, like no one else, managed to show a living, light-filled, ever-moving water element. Getting rid of the too sharp contrasts of the classic composition, Aivazovsky eventually achieves genuine pictorial freedom. Bravura - catastrophic "The Ninth Wave" (1850, Russian Museum, St. Petersburg) is one of the most recognizable paintings of this genre.