Winter landscapes in Western art

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Jozef Chelmonski: Partridges in the snow, 1891 Chelmonski Partridges in the snow.png
Józef Chełmoński: Partridges in the snow, 1891
Richard von Drasche-Wartinberg: In Deep Winter Richard Freiherr von Drasche-Wartinberg Im tiefen Winter.jpg
Richard von Drasche-Wartinberg: In Deep Winter

The depiction of winter landscapes in Western art begins in the 15th century, as does landscape painting in general. Wintry and snowy landscapes are very rarely seen in earlier European painting since most of the subjects were religious. Gold ground paintings had no painted backgrounds and other narrative scenes had highly stylized trees and mountains. [1]

Contents

In the 15th century, the calendar pages of the most lavishly decorated books of hours, giving the dates of feast days important to the owner, began to include miniatures of the Labours of the Months . Much the most famous of these sets of scenes is in Les Très Riches Heures du duc de Berry , from the beginning of the period. By the last quarter of the century, manuscripts of the Ghent–Bruges school often include a set, including two or three winter scenes for the coldest months, some with a snowy landscape.

The snowy landscape as a genre in painting really begins in the 1560's with five paintings by Pieter Bruegel the Elder made between 1563 and perhaps 1567. Two of these in particular were copied many times over the following decades, and other artists also created their own snowy compositions. Several painters came to specialize in such scenes in Dutch Golden Age painting.

Fierce weather and snow appealed to Romantic painters, and later the Impressionists. As Russian painting took to landscapes in the 19th century, snow unsurprisingly often features. The depiction of snow in Europe is mainly a northern European subject. [2]

History

Between Renaissance and the eve of Romanticism

February, attributed to Paul Limbourg, or the "Rustic painter", 1412 and 1416, Musee Conde. Les Tres Riches Heures du duc de Berry fevrier.jpg
February, attributed to Paul Limbourg, or the "Rustic painter", 1412 and 1416, Musée Condé.

Early European painters generally did not depict snow since most of their paintings were of religious subjects. The first artistic representations of snow came in the 15th and 16th centuries. [1] Because frequent snowfall is a part of winter in northern European countries, depiction of snow in Europe began first in the northern European countries. [2]

Since the early 15th century, wintry scenes had been represented by artists in parts of large sculptural works on churches and even on a smaller scale in private devotional scripts such as the book of hours, a devotional collection of texts, prayers and psalms. These were often illuminated manuscripts such as Labours of the Months, a cycle of twelve paintings that illustrated the social life, the agricultural tasks, the weather, and the landscape for each month of the year. January and February were typically shown as snowy, as is February in the famous cycle of the Les Très Riches Heures du duc de Berry , illustrated 1412–1416. Some snowy scenes also appear in a set of early 14th-century frescoes created by Master Wenceslas for the Bishop's Palace at Trento, showing people throwing snowballs at each other, [3] and in a detail of Ambrogio Lorenzetti's Effects of Good Government in the City and Countryside (1337–39). [4] [5] At that time, landscapes had not yet developed as a genre in art, which explains the scarcity of winter scenes in medieval painting. Snow was not depicted in art except where it had a context, such as in the winter months of calendars.

Bruegel

During the Early Northern Renaissance and even more during Dutch Golden Age painting in the 17th century, interest in landscape painting was increasing. The winter of 1564–1565 was said to be the longest and most severe for more than a hundred years – the beginning of a cold period in northern Europe now called the Little Ice Age. For the next 150 years, northern European winters were comparatively snowy and harsh. Crop failures, heavy snowfalls and advancing glaciers that consumed Alpine pastures and villages made the era a grim one for European peasants. [6]

Pieter Bruegel the Elder, The Hunters in the Snow, 1565, oil on wood, Kunsthistorisches Museum Pieter Bruegel the Elder - Hunters in the Snow (Winter) - Google Art Project.jpg
Pieter Bruegel the Elder, The Hunters in the Snow , 1565, oil on wood, Kunsthistorisches Museum

It was early in the frigid winter of 1565 that Bruegel created The Hunters in the Snow . [7] It was part of a series that illustrated the months, something thematically similar to the traditional Flemish books of hours (e.g. the Très Riches Heures du Duc de Berry). [8] In addition to the snowy Hunters (December–January), it included The Harvesters (August). The Hunters depicts village life in a snowbound Flemish setting, showing not only hunters with pikes trudging off with their dogs to seek game, but also villagers gathered around a fire, frozen ponds with skaters, and houses and churches in the distance – all against a fanciful backdrop of snow-covered mountains. The series was commissioned in 1565 by a wealthy patron in Antwerp, Niclaes Jonghelinck. The paintings by Flemish artist Pieter Bruegel the Elder were on a larger scale than calendar paintings; they measured approximately three feet by five feet (0.9 by 1.5 meters). [9]

Bruegel continued to depict snow in his paintings. He created the first nativity scene to include snow, Adoration of the Magi in a Winter Landscape , which is also the earliest known painting to actually depict falling snow. He also started a vogue for Netherlandish winter painting. The popularity of landscapes in the Netherlands was in part a reflection of the virtual disappearance of religious painting in a now Protestant (Calvinist) society, which preferred non-religious themes such as still life, genre painting, and landscape painting. The tradition of painting landscapes continued well into the 19th century and developed into the Romantic landscape. Between 1780 and 1820, following the initial vogue in the 16th century for Netherlandish winter landscapes, winter subjects again become popular. However, this time winter landscapes became popular in their own right, as the beginning of the Romantic movement created a new interest in the landscape. This new interest, combined with the decline of religious painting in the 18th and 19th centuries all over Europe, gave landscape painting for its own sake, not simply as a backdrop to a scene or a setting, a much greater and more prestigious place in 19th-century art than it had held earlier. [1]

Bruegel's other snow paintings

Romantic landscape painting

Caspar David Friedrich: Winter Landscape (c. 1811) Caspar David Friedrich - Winterlandschaft (London).jpg
Caspar David Friedrich: Winter Landscape (c. 1811)

Later, after a relatively warm period that coincided with the end of the 17th century Dutch Golden Age, the European climate turned cool again, heading for a trough whose lowest point was in the second decade of the 19th century. In 1809, a series of major volcanic eruptions heralded the arrival of a particularly cold period as the clouds of ash partially blocked out the sun. The decade from 1810 to 1819 was the coldest in England since the 17th century. In 1812, the French Grande Armée was forced to retreat from Moscow by the advancing winter – known to the Russians as General Snow. These climactic events played a great part in the development of a new art genre, the winter landscape. [6]

In the late 18th century, the growing Romantic movement intensified interest in landscape painting, including winter landscapes. Practitioners included the German artist Caspar David Friedrich, who depicted remote and wild landscapes. Caspar David Friedrich was a romantic landscape painter, and was one of the first artists to portray winter landscapes as austere, forbidding and desolate. His winter scenes are solemn and still. They are often painted plein-air, with the artist using the thin, gray light of winter to create an appropriate atmosphere and illustrate the effect of light reflected off snow. According to the art historian Hermann Beenken, Friedrich painted winter scenes in which "no man has yet set his foot". Although based on direct observation, his landscapes did not reproduce nature but were painted to create a dramatic effect, using nature as a mirror of human emotions. His aim was a reunion with the spiritual self through the contemplation of nature, paralleling Romanticism's validation of intense emotions such as apprehension, fear, horror, terror and awe. Awe in particular – experienced when confronting the sublimity of untamed nature and its picturesque qualities – drew Friedrich's interest, as seen in his idealized portrayals of coasts, forests and craggy mountains. Friedrich created the notion of a landscape full of romantic feeling – die romantische Stimmungslandschaft. [10] [11] His works detail a wide range of geographical features, and he used the landscape as an expression of religious mysticism. [12]

Along with other Romantic painters, Friedrich helped position landscape painting as a major genre within Western art. His style influenced his contemporary, the Norwegian Johan Christian Dahl (1788–1857), and, later, Arnold Böcklin (1827–1901) and many Russian painters, in particular Arkhip Kuindzhi (c. 1842–1910) and Ivan Shishkin (1832–98). [13]

The work of the 19th-century Düsseldorf School is characterized by finely detailed but still fanciful landscapes, often portraying religious or allegorical stories. Leading members of the Düsseldorf School advocated plein-air painting and tended to use a palette of relatively subdued and muted colors. The Düsseldorf School grew out of, and was a part of, the German Romantic movement. Prominent members of the Düsselorf School included Friedrich Wilhelm Schadow, Rudolf Koller, Karl Friedrich Lessing, Johann Wilhelm Schirmer, Andreas Achenbach, Hans Fredrik Gude, Oswald Achenbach and Adolf Schrödter. [14]

The Icebergs by Frederic Edwin Church, (1861), Dallas Museum of Art The Icebergs (Frederic Edwin Church).jpg
The Icebergs by Frederic Edwin Church, (1861), Dallas Museum of Art

French painters were slower to develop landscape painting, but from about the 1830s Jean-Baptiste-Camille Corot and other artists of the Barbizon School established a French landscape tradition that in the 19th century would become the most influential in Europe.

It is often assumed that plein-air painting started with the 19th-century Impressionists, but in fact it was already common in the late 18th century when the members of the Hudson River School of American landscape painters were already painting in plein-air. [15] [16] [17] Frederic Edwin Church, a central figure in the Hudson River School, was known for painting large landscapes that he saw during his travels to the Arctic and Central and South America. [18]

Plein-air painting, in its strictest sense, is the practice of painting landscape pictures out-of-doors; more loosely, the achievement of an intense impression of the open air (French: plein air) in a landscape painting. Until the time of the painters of the Barbizon school in mid-19th-century France, it was normal practice to execute rough sketches of landscape subjects in the open air and produce finished paintings in the studio. Part of this was a matter of convenience. [19]

Impressionists

Monet: Boulevard Saint Denis (1875) Monet - Boulvard Saint Denis in Argenteuil im Winter.jpg
Monet: Boulevard Saint Denis (1875)

The Impressionists were the first artists who made plein-air painting a major genre. They painted outdoors and were interested in real-life subject matter. Their most evident preoccupation and interest was capturing the effect of light and weather at a particular moment – they often painted the same theme all over again in different light and different weather. The Impressionists were influenced in many of their subjects by Japanese woodblock prints. The themes of falling snow and figures with umbrellas in snow are frequent subjects in the ukiyo-e Japanese woodblock prints. [20] [21] [22] [23]

It is possible that a series of severe winters in France also contributed to an increase in the number of winter landscapes produced by Impressionists. [24] Impressionist painters like Claude Monet, Alfred Sisley and Camille Pissarro started painting large numbers of winter landscapes in which they experimented with the use of light and color to paint what they called the effets de neige (the effects of snow). Other painters who painted winter landscapes but less frequently were Pierre-Auguste Renoir, Gustave Caillebotte and Paul Gauguin. The French master Claude Monet's first painting in his winter series of 140 paintings was A Cart on the Snowy Road at Honfleur , which was followed by many other winter landscapes, including a long series with haystacks. [25] In the painting Boulevard Saint Denis, Monet sought to catch the moment when the sun was hidden behind the clouds during a light snowfall. [20] In The Magpie , Monet's largest and probably most widely known winter painting, he used blue-gray colors to depict shadows in the snow. [26] [27]

The Impressionists in Winter was an exhibition organized around the theme Effets de Neige. [28]

Technique

Monet: Train in the Snow (1875) Claude Monet - Train in the Snow.jpg
Monet: Train in the Snow (1875)

It was the natural outdoor light that made the Impressionist's treatment of subjects different. They closely observed the various colors of light that were reflected from objects and captured those colors in their paintings. Since Impressionists painted in plein air , the shadows reflected the light of the sky as it was reflected onto surfaces.

Impressionists generally used vivid colors, with often thick application of paint, and real-life subject matter. The new technology of premixed paints in tin tubes aided the development of this style. [29] Previously, painters had made their own paints by grinding and mixing dry pigment powders with linseed oil. [30] In the 1860s, many vivid synthetic pigments became commercially available such as cobalt blue, viridian, cadmium yellow and synthetic ultramarine blue, as well as even newer colors such as cerulean blue. [31] [32] As a result, the Impressionists soon moved toward a brighter style of painting. [33] By the 1870s, Monet, Renoir, and Pissarro usually chose to paint on grounds of a light grey or beige colour, but some of the Impressionists had come to prefer white grounds. [29]

See also

Related Research Articles

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<span class="mw-page-title-main">Claude Monet</span> French painter (1840–1926)

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<span class="mw-page-title-main">Impressionism</span> 19th-century art movement

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<span class="mw-page-title-main">Pierre-Auguste Renoir</span> French painter and sculptor (1841–1919)

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<i>The Hunters in the Snow</i> Painting by Pieter Bruegel the Elder

The Hunters in the Snow, also known as The Return of the Hunters, is a 1565 oil-on-wood painting by Pieter Bruegel the Elder. The Northern Renaissance work is one of a series of works, five of which still survive, that depict different times of the year. The painting is in the collection of the Kunsthistorisches Museum in Vienna, Austria. This scene is set in the depths of winter during December/January.

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<i>The Magpie</i> (Monet) 1868–1869 painting by Claude Monet

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<i>Adoration of the Kings</i> (Bruegel) Painting by Pieter Bruegel the Elder

The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London.

<i>Boulevard des Capucines</i> (Monet) 1873 painting by Claude Monet

Boulevard des Capucines is the title of two oil-on-canvas paintings depicting the famous Paris boulevard by French Impressionist artist Claude Monet, created between 1873-1874. One version is vertical in format and depicts a snowy street scene looking down the boulevard towards the Place de l'Opéra. The other version is a horizontal composition and shows the same street on a sunny winter day; it is housed at The Pushkin State Museum of Fine Arts in Moscow and is believed to be the version that was exhibited at the first Impressionist exhibit in 1874. Monet painted the works from the photography studio of Félix Nadar at 35 Boulevard des Capucines. The elevated vantage point and loose brushstrokes allow the audience to see the commotion of the boulevard from a position high above street level. Certain aspects of the paintings have parallels in the photography of Monet's day and in Japanese prints, which may have influenced Monet.

<i>The Swing</i> (Renoir) 1876 painting by Pierre-Auguste Renoir

The Swing is an oil-on-canvas painting made in the summer of 1876 by the French Impressionist artist Pierre-Auguste Renoir. The painting depicts model Jeanne Samary, Norbert Goeneutte, and Renoir’s brother Edmond. The painting combines eighteenth-century techniques with modern elements.

<i>Skaters in the Bois de Boulogne</i> Painting by Pierre-Auguste Renoir

Skaters in the Bois de Boulogne is an oil-on-canvas landscape painting by the French artist Pierre-Auguste Renoir, created during the winter of 1868. The painting depicts a snowscape with many Parisians, young and old, spending leisure time on a frozen park lake. Due to Renoir's strong dislike of cold temperatures and snow, the piece is one of his few winter landscapes.

<i>La Promenade</i> (Renoir) 1870 painting by Pierre-Auguste Renoir

La Promenade is an oil on canvas, early Impressionist painting by the French artist Pierre-Auguste Renoir, created in 1870. The work depicts a young couple on an excursion outside of the city, walking on a path through a woodland. Influenced by the Rococo Revival style during the Second Empire, Renoir's La Promenade reflects the older style and themes of eighteenth-century artists like Jean-Honoré Fragonard and Jean-Antoine Watteau. The work also shows the influence of Claude Monet on Renoir's new approach to painting.

<i>Lise with a Parasol</i> Painting by Pierre-Auguste Renoir in the Museum Folkwang

Lise with a Parasol is an oil on canvas painting by French artist Pierre-Auguste Renoir, created in 1867 during his early Salon period. The full-length painting depicts model Lise Tréhot posing in a forest. She wears a white muslin dress and holds a black lace parasol to shade her from the sunlight, which filters down through the leaves, contrasting her face in the shadow and her body in the light, highlighting her dress rather than her face. After having several paintings rejected by the Salon, Renoir's Lise with a Parasol was finally accepted and exhibited in May 1868.

<i>Winter Landscape with a Bird Trap</i> Painting by Pieter Bruegel the Elder

Winter Landscape with Ice skaters and Bird Trap, sometimes just The Bird Trap, is a painting of 1565 by the Flemish painter Pieter Bruegel the Elder, now in the Oldmasters Museum in Brussels. It shows a village scene where people skate on a frozen river, while on the right among trees and bushes, birds gather around a bird trap. It is signed and dated at the lower right: "BRVEGEL / M.D.LXV’1". There are more early copies of this than any other painting by Pieter Bruegel the Elder, many by his much younger son Pieter Brueghel the Younger, or other members of the Brueghel family dynasty and workshop. The art historian Klaus Ertz documented 127 copies in his comprehensive monograph on the artist's son in 2000.

<i>Le Pont-Neuf</i> (Renoir) 1872 painting by Pierre-Auguste Renoir

Le Pont-Neuf is an 1872 oil-on-canvas painting by the French artist Pierre-Auguste Renoir. It is held by the National Gallery of Art in Washington, D.C.

<i>The Gust of Wind</i> (Renoir) Painting by Pierre-Auguste Renoir in the Fitzwilliam Museum

The Gust of Wind, alternatively titled Le Coup de Vent or High Wind, is an oil-on-canvas painting completed in 1872 by the French artist Pierre-Auguste Renoir. The composition portrays wind sweeping across the hilly terrain in the Île-de-France region. It is part of Renoir's plein air landscape series from the 1870s, during the height of the Impressionist movement, and is currently housed at the Fitzwilliam Museum, Cambridge.

References

Citations

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  3. ↑ Florian Heine, "The First Time: Innovations in Art", Bucher, Munich, 2007 at 33
  4. ↑ McCouat, Philip. "The Emergence of the Winter Landscape". Journal of Art in Society. www.artinsociety.com. Archived from the original on 2016-04-04. Retrieved September 22, 2022.
  5. ↑ "illuminated-manuscript-snow". bjws.blogspot.se. Archived from the original on 2014-12-16.
  6. 1 2 "A brief history of snow". TheGuardian.com . 7 January 2010. Archived from the original on 19 October 2013. Retrieved 18 December 2016.
  7. ↑ "Hunters in the Snow (Winter)". Archived from the original on 2016-04-16. Retrieved September 22, 2022.
  8. ↑ Stokstad, Cothren, Marilyn, Michael (2010). Art History- Fourteenth to Seventeenth Century Art.{{cite book}}: CS1 maint: multiple names: authors list (link)
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  10. ↑ Prettejohn, Elizabeth (2005). Beauty & Art, 1750–2000. Oxford: Oxford University Press, pp. 54–56. ISBN   0-19-280160-0.
  11. ↑ Beenken, Hermann (April 1938), "Caspar David Friedrich", The Burlington Magazine for Connoisseurs , 72 (421): 171–175, JSTOR   867281
  12. ↑ Academic American Encyclopedia, Danbury: Grolier, 1989, p. 332, ISBN   0-7172-2024-9
  13. ↑ Epstein, Suzanne Latt (1964), The Relationship of the American Luminists to Caspar David Friedrich, New York: Columbia University, OCLC   23758262
  14. ↑ Humboldt, Wilhelm von (1968). Albert Leitzmann (ed.). Gesammelte Schriften. 1. Abteilung: Werke. Band 6 1827-1835. Walter de Gruyter. p. 585. ISBN   978-3-11-019258-2. Archived from the original on 18 November 2021. Retrieved 14 October 2014.
  15. ↑ "interview". jamesgurney.com. Archived from the original on 2012-11-07.
  16. ↑ [I really like the work before 1860 the best. People often assume that plein-air painting started with the Impressionists, but it's much older than that, going back to the late 18th Century. The Hudson River School painters, under the influence of Asher B. Durand, were the first to make a regular practice of it, and they often made more sensitive observations than later plein-air painters, because they weren't influenced by the notion of "art for art's sake." Art does not exist for its own sake. The purpose of art is not to make an aesthetically pleasing picture; it should be much more—to tell a story, reveal a character, convey an emotion, or express some truth about nature.]
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  18. ↑ "Voyage of the Icebergs -online book". /issuu.com/dallasmuseumofart. Archived from the original on 2014-12-15. Retrieved September 22, 2022.
  19. ↑ "plein-air-painting". global.britannica.com.
  20. 1 2 "boulevard-saint-denis-argenteuil-in-winter". www.mfa.org. Archived from the original on 2016-07-31. Retrieved September 22, 2022.
  21. ↑ "impressionists-in-winter". culturevulture.net. January 1998. Archived from the original on 2015-05-20. Retrieved September 22, 2022.
  22. ↑ "Monet's Garden – Melbourne Winter Masterpieces Exhibition". www.thecultureconcept.com. Archived from the original on 2014-12-30. Retrieved 2014-12-15.
  23. ↑ [During the latter half of the nineteenth century (1874–1886), many people found it difficult to cope with this new vision. It was all about capturing the moment, the joy of life and revealing many of its secrets or truths.]
  24. ↑ Rathbone 1999 , p. 22; Sweeney 1999 , pp. 23–27; For the range of 63 major works produced from 1867–1893, see Moffett et al. 1999.
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  27. ↑ "claude-monet-1868-1869-the-magpie". www.zucapaca.com. Archived from the original on 2014-12-15. Retrieved 2014-12-15.
  28. ↑ "snowy-landscapes". Archived from the original on 2014-12-15. Retrieved 2014-12-15.
  29. 1 2 "Impressionists". /yalepress.yale.edu. Archived from the original on 2014-12-14.
  30. ↑ Renoir and the Impressionist Process Archived 2011-01-05 at the Wayback Machine . The Phillips Collection , 2014
  31. ↑ Wallert, Arie; Hermens, Erma; Peek, Marja (1995). Historical painting techniques, materials, and studio practice: preprints of a symposium, University of Leiden, the Netherlands, 26-29 June, 1995 Archived 2022-01-11 at the Wayback Machine . [Marina Del Rey, Calif.]: Getty Conservation Institute. p. 159. ISBN   0892363223.
  32. ↑ "a-history-of-pigment-use-in-western-art-part-2". www.pcimag.com. Archived from the original on 2016-03-04. Retrieved September 22, 2022.
  33. ↑ Stoner, J.H.; Rushfield, R. (2013). Conservation of Easel Paintings. Taylor & Francis. p. 177. ISBN   9781136000416.

Bibliography

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