Week 2

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3 & 4   THE IDEAL LANDSCAPE

 

The landscape paintings that emerged in Italy, first in the 16^th century Venetian school, and then at the beginning of the 17^th century, in the work of artists such as Annibale Carracci and Domenichino, established an ideal landscape style. It was to be developed in particular by French artists working in Rome – Claude and Poussin, and Poussin’s brother-in-law, Gaspard Dughet. Their painting was aimed at a different audience from the mainstream of Italian Baroque art with its commissions from church and court, and addressed instead a growing market of private patrons in both Italy and France. Two dominant features in the paintings were to be of great influence on later artists – structure and subject matter. Though drawing on observation of the scenery of the Roman campagna, the compositions were constructed, built up on ‘classical’ principles using planar compositions and framing coulisses, carefully controlled elements that directed the viewer’s eye, and led it back gradually into the landscape. The subject matter invariably related to the traditions of ‘history painting’, although it was very much reduced in relation to the scale of the painting as a whole. Works included literary allusions, particularly from Latin texts like those of Pliny, Virgil and Ovid, that would appeal to educated connoisseurs. Virgil in particular was linked to landscape art through his different approaches to it in the Georgics (agricultural), the Eclogues (pastoral/poetic) and the Aeneid (ideal/epic).

 

A rather different, but equally influential, landscape type was developed by another 17^th-century painter in Italy, Salvator Rosa, who became known for more dramatic landscapes, with theatrical effects and dramatic narratives. These works were later associated with concepts of the sublime.

 

3 & 4   READINGS

 

Key texts for this area are:

Kitson, Michael. Studies on Claude and Poussin. London: Pindar Press, 2000.

Lagerlöf, Margaretha. Ideal Landscape: Annibale Carracci, Nicolas Poussin and Claude Lorrain. New Haven: Yale University Press, 1990.

McTighe, Sheila. Nicholas Poussin’s landscape allegories. Cambridge: Cambridge University Press, 1996.

Olson, Todd. Poussin and France: Painting, Humanism, and the Politics of Style. New Haven: Yale University Press, 2002.

Panofsky, Erwin. ‘Et in Arcadia Ego: Poussin and the elegiac tradition’, Meaning in the Visual Arts. New York, Doubleday, 1955, 295-320.

Slide List Lectures 3 and 4: THE IDEAL LANDSCAPE

 

Works are paintings in oil unless otherwise stated. Most dates are approximate.

 

Titian (c.1485-1576)

1 Virgin with the Rabbit. 1530. Louvre, Paris

2 Death of Actaeon. 1562. Nat Gall, London.

 

Giorgione (1476/8-1510)

3 Concert Champetre. 1510. Louvre, Paris.

4  Landscape with St George and the Dragon. 1506-10. Nat Gall, London.

 

Annibale Carracci (1560-1609)

5 Toilet of Venus. Bologna.

6 Landscape. 1589-90. Nat. Gall, Washington.           

7 Fishing Scene. Louvre, Paris.

8 Landscape with Hunting Party. Nat Gall, London.

9 Landscape with the Flight into Egypt. 1604. Gall. Doria Pamphili, Rome

10 Quo Vadis Domine 1602. Nat Gall, London.

 

Domenichino (1581-1641)

11 Landscape with the Flight into Egypt. 1620. Louvre, Paris.

12 Landscape with St Jerome. 1610. Glasgow

13 Landscape with Fortifications. 1634-5. Private coll.

14 Landscape with St George and the Dragon. 1610-11. Nat. Gall, London.

 

Claude Gellée (Lorrain) (1600-1582)

15 Landscape with St George and the Dragon. 1646. Wadsworth Athenaeum.

 

Domenichino

16 Tobias and the Angel. 1617-18. Nat. Gall, London.

 

Claude

17 Landscape with Hagar and the Angel. 1646. Nat. Gall, London.

18 Landscape with the Expulsion of Hagar and Ishmael. 1668. Munich.

19 River Landscape.  Wash drawing. Nat Gall, Washington.

20 River Landscape. Wash drawing. Kimbell Art Mus.

21 Landscape with Goatherd and Goats. 1636. Nat. Gall, London.

22 Landscape with Cattle. Wash drawing.. Cleveland.

23 Pastoral Caprice with Arch of Constantine. 1648. Duke of Westminster.

24 View of St Peters, Rome. Wash drawing. British Museum.

25 View of Tivoli at Sunset. 1642. San Francisco.

26 View of Delphi with Procession. 1650. Gall. Doria Pamphili, Rome.

27 The Judgement of Paris. 1645. Nat. Gall, Washington.

28 Marriage of Isaac and Rebekah. 1648. Nat Gall, London.

29 Aeneas at Delos. 1672. Nat. Gall, London.

30 View of Carthage with Dido and Aeneas. 1676. Hamburg

31 Seaport with Setting Sun. 1639. Louvre, Paris.

32 Embarkation with St Ursula. 1641. Nat. Gall, London.

33 Narcissus and Echo. 1644-5. Nat. Gall, London.

34 Landscape with Psyche outside the Palace of Cupid (The Enchanted Castle). 1664. Nat Gall, London.

 

Nicolas Poussin (1594-1665)

35 Narcissus and Echo. 1629-30. Louvre, Paris.

36 The Arcadian Shepherds. (Et in Arcadia Ego) 1628-9. Chatsworth.

37 The Arcadian Shepherds. (Et in Arcadia Ego) 1638-40. Louvre, Paris.

38 Landscape with St Matthew and the Angel. 1640. Berlin.

39 Landscape with St John on Patmos. 1640. Art Inst, Chicago.

40 Landscape with Diogenes. 1648. Louvre, Paris.

41 Landscape with Man Killed by a Snake. 1648. Nat. Gall, London.

42 Landscape with the Carrying of the Body of Phocion. 1648. Earl of Plymouth.

43 Landscape with the Gathering of the Ashes of Phocion. 1648. Walker Art Gall.

44 Landscape with a Calm. 1651. Sudley Castle.

45 Landscape with Pyramus and Thisbe. 1651/6?. Frankfurt.

46 Spring/ Earthly Paradise. 1660-4. Louvre, Paris.

47 Summer/ Ruth and Boas. 1660-4. Louvre, Paris.

48 Autumn/ Grapes of the Promised Land. 1660-4. Louvre, Paris.

49 Winter/ The Deluge. 1660-4. Louvre, Paris.

50 Landscape with Diana and Orion. 1658. Met. Mus, New York.

51 Apollo and Daphne 1660-65. Louvre.

 

Gaspard Poussin (Dughet) (1615-1675)

53 Landscape with Sabine Mountains. 1650s.

54 Landscape near Albano. Nat. Gall, London.

 

Salvator Rosa (1615-1673)

55 Diogenes Throwing Away his Bowl. Nat. Gall, London. (cf Poussin)

56 Landscape with Tobias and the Angel. Nat.Gall, London. (cf Domenichino)

57 A Beggars’ Encampment. 1638-39.

58 Grotto with Waterfall. 1641. Pitti, Florence.

59 The Ruined Bridge. Pitti, Florence.